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UNDER COVER 



A Play in Four Acts 



BY 



ROI COOPER MEGRUE 



Under Cover 

A Melodrama 
In Four Acts 

by 
ROI COOPER MEGRUE 



Published April. 1914 



I 



Copyright, United State* of America, January and April, 1914 

Copyright, Dominion of Canada, April, 1914 

Copyright, Great Britain, April, 1914 



(ALL RIGHTS RESERVED) 



/ 






To the loveliest lady in the world 
My Mother. 



MAY II I9M 



nj 



CID 36991 



^ 



roasHHHiEHSHsasHHHHHSHsasraHasHsasasasHsasHSHSo] 
l°SH5HSHSHSHsasasasHsasasH5HSH5HSHsasasasE5H°l 



In the Order of their First Appearance. 



JAMES DUNCAN, Assistant to Daniel Taylor. 

HARRY GIBBS, a Customs Inspector. 

PETER, a Door-keeper at the Customs. 

DANIEL TAYLOR, a Deputy Surveyor in the Customs. 

ETHEL CARTWRIGHT. 

SARAH PEABODY. 

AMY CARTWRIGHT. 

MICHAEL HARRINGTON. 

LAMBART, Butler at the Harringtons. 

NORA RUTLEDGE. 

ALICE HARRINGTON. 

MONTY VAUGHAN. 

STEVEN DENBY. 



UNDER COVER 



ACT I. 

The office of a Deputy Surveyor of the Port of New York in the 
Customs House, New York City. 

ACT 11. 

At the Harringtons, Long Island. 

(During Act II the curtain will be lowered for thirty seconds to 
indicate the lapse of two hours.) 

ACT HI. 

Denby's Room at the Harringtons. 

ACT IV. 
The same as Act 11. 

NOTE — The action of the fourth act is supposed to begin at 
a time five minutes before the curtain falls on the third act. 

The play takes place during the afternoon and evening of a day 
in August. 



L 



UNDER COVER 



Act 1 



SCENE. 

The scene is in the Customs House, New York. The office of a 
deputy surveyor of the port. It is a plain business like interior. 
There is a door center, one down right, and another up left. There 
is a desk, Taylor's, at right behind which is a large bay-window, 
showing a view of tall buildings and the distant river. There is 
another desk, Duncan's, at left. Up stage by the center door on 
one side is a hat rack. On the other a water cooler. Beside this 
are some filing cabinets. There are two chairs beside each of the 
desks. A calendar and one or two official announcements hang 
on the walls. 

TIME — It is four o'clock on a Friday afternoon in August. 

DISCOVERED — At rise Duncan is seated at his desk L. He 
is a miniature Daniel Taylor — and as an actor must have authority 
and ability to get lines over, as the telling of most of the early plot 
depends on him. He is dressed in the uniform of a customs in- 
spector. As the curtain rises Duncan is in the middle of a tele- 
phone conversation. 

DUNCAN — {Continuing speech impressively) — Yes! Yes! Yes! 
And say, be right on the job. The minute the Mauretania gets to 
quarantine go through the declarations and 'phone me here whether 
Steven Denby declares a necklace or not. No — D-e-n-b-y — it's 
valued at two hundred thousand dollars. You bet it's a big case. 
No, I can't tell you who's handling it. Never mind whether R. J, 
is at work on it or not; your job is to telephone me as soon as you 
get a peek at those declarations. Bye, bye. 

(Gibbs enters C, door as he hangs up receiver.) 

{Gibbs is a fat man, full of interest in any gossip that comes 
his way. He is dressed in the uniform of a customs inspector.) 

GIBBS— Hello, Jim. 

DUNCAN — Hello, Harry, thought you were searching tourists 
over on the Olympic this afternoon. 

GIBBS — Oh, I was, with two thousand crazy women, all of 'em 
swearing they hadn't brought in a thing. Gosh, women is liars. 

DUNCAN— What're you doing here? 

GIBBS — I brought along a dame they want your boss Taylor 
to look over. It needs a smart guy like him to land her. 

DUNCAN — The old man is down with Malone now — he'll be 
back soon. 

GIBBS — I'll be tickled to death to wait here all day. I'm sick 
of searching trunks that's got nothin' in 'em but clothes. It ain't 
like the good old days. In them times if you treated a tourist right 
he'd hand you his business card and when you showed up at his 
office the next day he'd come across without a squeal. 

DUNCAN — That's true. Why, when I was inspector, if you had 
any luck picking out your passenger you'd find twenty dollars lyin' 
right on the top tray of the first trunk he opened for you. 



UNDER COVER 



GIBBS — And believe me when that happened I never opened 
any more of his trunks, I just labelled the whole bunch. But now 
— why since the investigations at the customs began I'm so honest 
it's pitiful. 

DUNCAN — It's a hell of a thing when a government official 
has to live on his salary. 

GIBBS — If times don't change I'm goin' into the police depart- 
ment. All I can get now is a bunch of aigrettes. — (Takes aigrettes 
from inside coat pocket. Spreads them.) — I nipped these off a 
lady coming down the gang plank of the Olympic. 

DUNCAN — (Cross to L of Gibbs) — Good for you. My wife 
was asking this morning if I couldn't get her a bunch — (Grabs 
them out of Gibbs' hand) — These'll come in just right. — (Puts 
them in his pocket. Cross to back of fable L, standing arranging 
papers.) 

GIBBS — But say. Jim — those are mine. 

DUNCAN — Can't you guys ever get out of the habit of graft- 
ing? — (Peter enters center. He is a uniformed attendant at the 
customs.) 

PETER — (To Duncan) — Miss Ethel Cartwright's here. 

DUNCAN— She is? Ask her to wait. 
PETER— Yes, s\r.— (He exits.) 

(Gibbs crosses to R C and looks out of window.) 

DUNCAN— Hello, give me the collector's office. Hello — I'd 
like to speak to the deputy surveyor — Mr. Taylor. It's Duncan 
down in his office. — (He holds the wire.) 

GIBBS — Got a cigar, Jim? — (Coming down to R of desk L.) 

DUNCAN — (Taking cigar from pocket) — Yes. 

GlBBS~(Reaching for j7)— Thanks. 

DUNCAN — And I'm going to smoke it myself. — (Puts cigar 
in his mouth.) 

GIBBS — (Taking cigar from his own pocket) — All right, then. 
I'll smoke one of my own.~(Goes over to desk R, and getting 
match, lights cigar.) 

DUNCAN— (/« 'phone)~lieno, hello, chief. Miss Ethel Cart- 
wright's here. Ten minutes? All right, sir. — (He rings off) — 
Well, what do j^ou think of her falling for a bum stall like that? 

GIBBS— Who? What? Which stall? 

DUNCAN— Why, Miss Cartwright did. 

GIBBS— What is she? A smuggler? 

DUNCAN — No, she's a swell society girl. 

GIBBS — If she ain't a smuggler, what's she down here for? 

DUNCAN — The chief wants to use her in the Denby case so 
he had me write her a letter saying we'd received a package from 
Paris containing dutiable goods, a diamond ring — and would she 
kindly call here this afternoon to straighten out the matter — and 
she fell for a fake like that. 

GIBBS — I get you — but what does he want her for? 

DUNCAN— For the Denby case. 

GIBBS— What's that? 

DUNCAN — The biggest smuggling job Taylor has ever 
handled. 



UNDER COVER 



abom^iP"'^'''' '^°"'' '"^ '°- ^^y' "°^°^^^ ^°^d "^e anything 

Rr^nc'^^—^^^/^" ^^^P yo"^ "^outh shut? 
LrlBBS— Sure. I'm a bachelor. 

rm^n^^^A'^^'^'V^H^ p^^^ °"^ ^^^^ <^°°^' will you? 

liste^n^'to w1.atl'm":i;ing'"°" "'^" '^ "^^^ ^^^^ -^ ^^-^ -^ 

nimrrv %'' i!^',^'"^^"!^ '"'^^y ^°°t, isn't he? 

his shoes ""^ ''^ ^' ^'- ^^^^>^^ ^^^^^ ^^bber heels on 

aboS?^^^""^^'"'' '" "^'"^ ^ ^^ ^^^^ /^)-Now, what is all this 

r.hl2^ff^^''S~,^^^''^ ^o«/?rf^n^m/)-Last week the chief got a 
riPT?? 5^^'oW' a salesman in Cartier's. ^ * 

LrlBBb—Cartiers— what's that^ 

secret^^a^eem^'i};;^^^' T^^^^^^ i" P^^i^- Harlow's our 

gsu^ .- .?- ^^ r e-.^r-H- .-Tfnfs 

DUVCr\°"s,^f"Tf ^"- ^''''"'' Harrington? 

rTRRQ /^- ■ ^- There's only one. 

(jlB«b_(«,«„j7^ crossing to C)— Well if he\ a *ri.„j , 

Harrington. ^^ ^^ ■ wireless to old man 

GIBBS— What's Taylor going to do? 



UNDER COVER 



DUNCAN — I don't know; he's kind of up against it. If 
Denby's on the level and he's pinched on the dock and searched 
and nothing's found on him, think of the roar that Michael Har- 
rington — worth ninety billion dollars — will put up at Washington 
because we bothered his friends. Why, he'd go and kick to his 
pals down there and we'd all be fired. — (Crosses in front of Gibbs 
to table R.) . 

GIBBS — But where does this girl out there, Miss Cartwright, 
come in on this job? 

DUNCAN — (Cross to R of Gibbs) — I don't know, except that 
she's going down to the Harringtons this afternoon, too, and 
Taylor's got some scheme. He's a pretty smart boy. 

GIBBS — You bet he is, and maybe he's smarter than you 
know. Ever hear of R. J.? 

DUNCAN — R. J.? You mean that secret service agent? 

GIBBS — Yes — they sav he's a pal of the president's. 

DUNCAN— Well, what's he got to do with this? 

GIBBS — Don't you know who he is? 

DUNCAN — No, and neither does anybody else. Nobody but 
the president and the secretary of the treasury know who he 
reallv is. 

GIBBS— (Puts foot on stool R of desk L proudly)— WeW, I 
know, too. 

DUNCAN — (Contemptuously) — Yes, you do, just the same as 
I do — that he's the biggest man in the secret service, that's all. 

GIBBS — Ain't it funny that you right here in the office don't 
know ? 

DUNCAN— Don't know what? 

GIBBS— Why, your boss Taylor is R. J. 

DUNCAN — (Laughing) — Taylor? You're crazy. — (Crosses to 
desk L.) 

GIBBS — (Steps backward to C — chestiiy) — Am I? Do you re- 
member the Stuyvesant case? 

DUNCAN — (Impressed) — By George, that's so. 

GIBBS— Why, all the boys are on. 

DUNCAN — Say, I wouldn't be surprised if you were right. 

GIBBS — I know I am. — (Door slams and Taylor's voice is 
heard off R.) 

DUNCAN — That's the boss now. — (Gibbs nervously fumbles 
with his cigar and chews it. Duncan also gets busy with papers.) 

(Taylor enters door R hurriedly and crosses to chair at desk R. 
Taylor is an incisive, smart, bull-doggy sort of man typical of the 
surliness of a certain well-known kind of government official. He 
is a bully, catering to his superiors and ragging his inferiors. He 
must have much authority, force and menace.) 

TAYLOR— Where's Miss Cartwright, Duncan? 

DUNCAN— Out there, sir.— (Pointing off C.) 

TAYLOR— (Sitting at desk 7?)— Want to see me, Gibbs? 

GIBBS— Yes, sir. 

TAYLOR — Well, wait outside — tell Peter when I ring to bring 
Miss Cartwright in. 

GIBBS— Yes, sir.- (He exits.) 



'» 



UNDER COVER 



TAYLOR — Did Bronson from the New York Burglar Insur- 
ance Company send over some papers to me relating to the theft 
of Miss Cartwright's jewels? 

DUNCAN — Yes, sir; they're here. — (Gives them to Taylor.) 

TAYLOR— Good.— (/f^ reads them.)— Ah\ By George, I was 
right. I knew it was a cinch there was something queer about 
her diamonds being stolen. 

DUNCAN— (Fm^^/^c?)— What diamonds do you mean? The 
case wasn't in our office, was it? 

TAYLOR — No, this is a little outside job my friend Bronson's 
mixed up in, but it may help us. — (He is still reading the papers.) 
— I'm sure it was a frame up, that she wasn't robbed, that she 
collected from the company on a false claim. 

DUNCAN— But I can't see. 

TAYLOR — No, if you could you'd have my job. Has the Mau- 
retania got to quarantine yet? 

DUNCAN— No, sir. 

TAYLOR — Telephone Brown to notify you the minute she does 
— tell him we've got to know as soon as possible whether Denby 
declares that necklace — everything depends on that! 

DUNCAN— (Co77i/n (7 to L of desk R) — And if he does de- 
clare it? 

TAYLOR — Then, of course, we haven't any case; but, somehow, 
I don't think there's going to be a declaration. 

T>\]^CKN—(Nodding his head)—Wd\, I'm holding Ford and 
Hammett to search Denby at the dock. 

TAYLOR — Well, keep them here until I let you know. I'm 
not sure whether I want Denby searched. 

DUNCAN— But, Chief, if he doesn't declare the necklace, it'll 
prove he's smuggling it. 

TAYLOR — I know, I know, but we've got to be pretty careful 
about offending any friend of Michael Harrington's. He's mighty 
rich and very influential. We've got to be absolutely sure we have 
the goods on Denby. 

DUNCAN — (Feeling his way) — Well, I guess it won't take 
R. J. long to land him. 

TAYLOR— R. J.? What's he got to do with this? 

DUNCAN — (Insinuatingly) — I thought you might be able to 
get him interested in the case. 

TAYLOR — I don't know anything about him. 

DUNCAN— (Skeptically)— Oh, don't you— (Changing the sub- 
ject) — Well, if we don't search him at the dock, what are we going 
to do? 

TAYLOR — If we let him slide through and he thinks he's 
fooled us, it might be easier to get him after he's down at the 
Harringtons and is off his guard. 

DUNCAN— (Eagerly)— Have you got one of the Harrington 
servants to spy for us? 

TAYLOR— No, but don't you know that Miss Ethel Cartwright 
is leaving this afternoon to spend the week end with the Har- 
ringtons? — (He pushes husser.) 



10 UNDER COVER 



DUNCAN — You mean you're going to get her to work for us 
down there? 

TAYLOR— Well, that wouldn't be a bad idea, would it, Jim? 

DUNCAN— But how can you? 

TAYLOR — That's what I'm going to find out now. — (Peter 
enters, followed by Ethel Cartwright.) 

(Ethel Cartwright is a tall, very pretty woman of twenty-seven, 
and while her manner is one of extreme poise that comes from 
perfect breeding, and the almost unconscious knowledge that she 
is what she is, none the less she is underneath very much of a girl. 
She has a great deal of charm and a decided sense of humor ; she 
is loyal; she is plucky. Physically she is the sort of woman who, 
when she enters a room*, other people say "Who is that?" and merv- 
tally she is the kind that men love and women criticise; and the 
one's love and the other's criticism are alike a matter of indiffer- 
ence to her.) 

PETER— Miss Cartwright,— (//^ exits C.) 

TAYLOR — (Rises and comes around back of desk) — Sorry to 
have kept you waiting, Miss Cartwright. 

ETHEL — It doesn't matter in the least. I've never been down 
at the customs before. I've found it quite interesting. 

TAYLOR — My name is Taylor — I'm a deputy surveyor. 

ETHEL — I believe, Mr. Taylor, you wanted to see me about 
a ring. 

TAYLOR — Yes, the intention evidently was to smuggle it 
through the customs. 

ETHEL — Do you really think so? Of course I haven't the 
least idea who could have sent it to me. 

TAYLOR — Of course you haven't. It's probably some mis- 
take. Perhaps, however, the record will shed some light on the 
matter. Duncan, go and get those papers relating to Miss 
Cartwright. 

DUNCAN— (5/aw^/3;)— What papers? 

TAYLOR — (Significantly) — About the package that was sent 
to her from Paris. 

DUNCAN — Oh, those papers. Yes, sir. — (He exits L.) 

TAYLOR — Won't you sit down. Miss Cartwright? 

ETHEL — You know, I feel quite excited at being here. — (She 
sits) — Almost like a smuggler myself. 

TAYLOR — (Sits) — Speaking of smuggling. Miss Cartwright, 
while we're waiting I'd like to have a little business chat with 
you if I may. 

ETHEL— With me? 

TAYLOR — Yes. As perhaps you may know, there has lately 
been a great deal of smuggling by those prominent in New York 
society. It is often difficult to detect because of the influence and 
position of the participants. They move in a world where neither 
I nor any of my operatives could enter — frankly, we couldn't pass 
muster for a moment. You follow me? — (Looks at her sharply.) 
ETHEL— (Doubtfully)— Yes, but 

TAYLOR — We are looking for someone who belongs in society; 
someone who is clever enough to provide us with information and 



UNDER COVER 11 



yet never be suspected. We would prefer that someone to be a 
woman — above suspicion — like you, for instance. 

ETHEL— Really, Mr. Taylor 

TAYLOR — Miss Cartwright, I have reason to know that you 
and your family have been in financial difficulties — {Look from 
Ethel. He breaks in) — since your father died. The position I 
describe could be made very profitable. — {Pause and look at her.) 
— How would you like to enter the secret service of the United 
States customs? 

ETHEL — Really, that's quite too preposterous. You must be 
joking. 

TAYLOR— No, I'm quite in earnest. 

ETHEL — {Rising) — The whole idea is too absurd. I must ask 
you for the papers regarding the ring. 

TAYLOR — They'll be "here any moment. I'm sorry you don't 
care to entertain my proposition, but that, of course, is up to you. — 
Miss Cartwright, as it happens, there's another little matter I'd 
like to discuss with you. Do you recall a George Bronson, the 
claim agent of the New York Burglar Insurance Company, the 
company which insured your jewels that were stolen? — {Looks 
ai papers.) 

ETHEL— I think I do— but 

TAYLOR — Well, that company has had a great deal of trouble 
with society women who have got money by pawning their jewels, 
then putting in a claim that they had been stolen, and recovering 
from the company on the alleged loss. 

ETHEL — Are you trying to insinuate that 

TAYLOR — Certainly not. I'm merely explaining that that was 
Bronson's first idea — but, of course, on investigation he realized 
as I do now how absurd that was 

ETHEL— Naturally. 

TAYLOR — And yet there were certain things that he could not 
quite understand. 

ETHEL — May I ask what Mr. Bronson's inability to under- 
stand has to do with you? 

TAYLOR — Simply that he happens to be a very good friend 
of mine. He often consults me about cases that puzzle him. The 
theft of your jewels puzzled him greatly. 

ETHEL — Puzzled him? It was perfectly simple. 

TAYLOR — Perhaps you will be good enough to tell me the 
circumstances of the case. 

ETHEL — I really don't see how this concerns the customs. 
_ TAYLOR^t doesn't except that I am acting as Bronson's 
friend, and if you will answer my questions I may be able to 
recover your jewels for you. 

ETHEL— (5t7j)— Oh, I see. That would be splendid. Of 
course, I'll tell you anything I know. 

TAYLOR— Well, the first feature that impressed Bronson— 
and me — was that the theft seemed to be an inside job. 

ETHEL — I don't believe I quite understand. 

TAYLOR — Well, there was no evidence to indicate that a thief 
had broken into your home. 



12 UNDER COVER 



ETHEL — But that could be the only explanation. 

TAYLOR— Why? 

ETHEL — Our family consists of just my mother, my sister and 
myself and two old servants who've lived with us for years. And, 
of course, it wasn't any of us. 

TAYLOR — Naturally not, but — how did you come to discover 
the loss of your diamonds? 

ETHEL — Oh, I didn't discover it. I was at Bar Harbour. 

TAYLOR — Oh, you were away — I didn't know that. Who did 
find out your jewels were gone? 

ETHEL — My sister. She missed them 

TAYLOR — {significantly) — Oh, your sister? I see. Your 
sister missed them (Pushes buzzer and writes on paper.) 

ETHEL — So, naturally, it must have been some thief from the 
outside. 

TAYLOR — Of course; of course. — {Duncan enters and goes over 
to desk R.) — Haven't you got those papers yet? 

DUNCAN — Sorry, chief, one of 'em's missing. We'll find it soon. 

TAYLOR — Well, be quick about it and meanwhile attend to 
this. — {Hands Duncan paper. Duncan gives quick look at him.) — 

You understand {Behind Ethel, Duncan points questioningly 

at Ethel. Taylor nods.) 

DUNCAN— Yes, sir.— {Exits L.) 

TAYLOR— Sorry for the delay. Miss Cartwright. 

ETHEL — {Smiling) — Not at all. I don't mind waiting for 
hours if you will only find my diamonds for me. 

TAYLOR — Well, to be quite frank with you, I'm afraid Bronson 
did have the wrong idea about you and your family. Although 
he couldn't get any absolute evidence, he did believe some one 
vitally concerned had put in a false claim. 

ETHEL — {Taken aback) — Do you mean to accuse me or my 
family of swindling? 

TAYLOR — Certainly not. Now that I have talked with you 
I realize how absolutely wrong Bronson was, and I'll be happy to 
assure him of my entire belief in your innocence. 

ETHEL — It's very kind of you. — {Rising) — I'm afraid I really 
can't wait longer for the papers about the ring. 

TAYLOR — Miss Cartwright, there isn't any ring. 

ETHEL— (.^^ front of c/^a^V)— What? 

TAYLOR — That was merely a pretext. I was afraid the truth 
would not serve to bring you. 

ETHEL — You asked me to come here because you thought I 
was a swindler? 

TAYLOR— Well, we all make mistakes. 

ETHEL — {Indignantly) — And you insult me with that absurd 
proposition that I enter the secret service and spy on my friends. 
TAYLOR — Oh, I meant that. Perhaps some day you will think 
better of it. I feel sure you will. 

ETHEL — I feel quite sure I won't. — {Going to door C) — Good 
afternoon. 

TAYLOR — {She exits. Taylor pushes buzzer. Duncan enters, 
crosses to desk R) — Did you get that girl's sister on the 'phone? 



UNDER COVER 



DUNCAN — Yes, sir. I told her Miss Gartwright wanted her 
to come here and she said she'd be right down. 

TAYLOR — Let me know the instant she gets here. 

DUNCAN — Yes, sir. Is Miss Cartwright going to help us on 
the Denby case? 

TAYLOR — (Significantly) — I wouldn't be a bit surprised. — 
(Gibbs enters C.) 

GIBBS — Say, Chief, can I see you now? 

TAYLOR— What is it? 

GIBBS — There's a deaf and dumb chicken out here. 

TAYLOR— A what? 

GIBBS — A gal that can't hear or speak or write. They say 
she's smuggled in a bracelet, but they've searched her eight times 
and can't get a trace of it, so they sent her to you. 

TAYLOR — Well, you don't expect me to search her? 

GIBBS— No, but I thought you might want to hand her the 
third degree. 

TAYLOR— Well, bring her in. 

GIBBS— Yes, sir. (He exits C.) 

TAYLOR — She's probably bluffing. Put that chair over there. — 
(Indicates down R of C. Duncan moves chair.) — We'll try the 
gun gag on her. There's a revolver in that drawer. When I 
say "go," you shoot. Got it? 

DUNCAN — (Goes near drawer in upper end of desk) — Yes, sir. 

(Gibbs enters C, bringing Sarah Peabody after him. He puts 
her in front of chair. Sarah Peabody, if she were not deaf and 
dumb, would be a slangy young woman with a temper. Anyhow, 
she ought to be pretty.) 

TAYLOR — (Sises her up for a second) — Well, tell her to sit 
down. 

GIBBS — Sure. — (Crosses to her and motions.) — Sit down. — 
(She pays no attention to him.) — Hay, squattez vous. — (Same busi- 
ness.) — Setzen sie. — (Turns away from her.) — I'm done. That's 
all the languages I know. I used to think it was a terrible thing 
that women could talk, but I guess the Almighty knowed more than 
I, did. 

DUNCAN — Hey, you, sit there. — (He grasps her roughly from 
behind and pushes her in chair.) 

TAYLOR — (Rises and comes around in front of desk) — She's 
not shamming? 

GIBBS — She ain't spoke all day, and no woman could keep 
from talking that long. 

TAYLOR — Women do a lot for diamonds. 

GIBBS — None of 'em ever do me for none. 

TAYLOR — (Crosses to her, roughly) — If you're acting, you'd 
better give it up now, because I'm sure to find out, and if I do, 
I'll send you to jail. — (Stands back, regarding her keenly. She 
stares straight ahead.) — So you won't answer me, eh? Going to 
force my hand, are you? — (Raises hand and signals Duncan.) — 
Go. — (Duncan fires pistol. Sarah does not wince or move. Taylor 
and Gibbs bend over and look her in the eye.) — She's deaf, alright, 
that's a cinch. Now, Gibbs, what is all this? 



14 UNDER COVER 



{Taylor at lower end of desk R. Gibbs crosses to her; Duncan 
crosses down L of Gibbs.) 

GIBBS — She's got a bracelet chuck full of diamonds, and we 
can't find it. 

TAYLOR — How do you know she's got it? 

GIBBS — She showed it to the woman who was in the same 
cabin with her. — {Turns to Duncan.) — She was the one who tipped 
us ofif. 

SARAH — {Rises suddenly and speaking at the same time) — 
Why, the dirty hussy. 

GIBBS — {Looks at her, then at Duncan — then at Taylor in 
great amazement) — For the love of Mike! — {All three men in 
great surprise.) 

SARAH — Do you know why she told about me? She wanted 
to alibi herself, make you think she was an honest, God-fearing 
lady that would never smuggle — and she had four times what I 
had — why, it was her who put me up to smuggling — she even 
taught me to be deaf and dumb— I'd like to meet her again 
some time. 

TAYLOR — Well, when we arrest her we'll need you to testify 
against her. 

SARAH — You can bet your life I won't be dumb then. 

TAYLOR — Now, where's your bracelet? 

SARAH — Wait a minute — what's going to happen to me? 

TAYLOR — Produce the bracelet, pay duty on it, and we'll let 
you go free for the tip. 

SARAH — You're on. This is it — the ring handle of my parasol. 
I just painted it, that's all. — {Showing it to Taylor.) 

GIBBS — {Grabbing it from her) — Well, can you approach 
that? — {Takes bracelet over and shows it to Duncan.) 

PETER — {Enters C.) — Miss Amy Cartwright is here, sir. 

TAYLOR — Ask her to come in. — {Peter exit C. Sarah powders 
her nose.) — Send this girl down to Ford, Gibbs. He can handle 
her from now on. 

GIBBS— All right. 

SARAH — {Crosses up to desk R) — I'll be glad to have some- 
one else on the job. I'm sick o' trottin' around with this fat guy. 

GIBBS — {Injured) — Say now {Crosses to her at desk R.) 

TAYLOR— Take her along. 

SARAH — {To Taylor) — Ta-ta, old sport. I certainly fooled 
you when you shot that gun off. — {Gibbs takes her by the arm. 
To Gibbs as they go) — And I could have kept it up if it hadn't 

made me sore — her putting one over on me like that And she 

was so blamed nice to me. But when one woman's nice to another 
she means mischief, you can bet your B. V. D.'s. — They exit L.) 

TAYLOR — Now, listen. When I ring, come in and say that 
Bronson is here to see me. 

DUNCAN— (Swr/?ru^d)—Bronson? 

TAYLOR— Yes, do you understand? 

DUNCAN— Yes, sir. 

TAYLOR — That's all. — {Indicates Duncan to go. He exits L. 
Taylor pauses L. Goes back of desk. Peter opens door C. Amy 



UNDER COVER 15 



Cartwnght enters. She^ ts a pretty young girl of eighteen; weak, 
sweet and dependent with no backbone. She is the opposite of her 
sister Ethel, on whom she relies absolutely.)— Miss Amy Cart- 

^^JrTXf'U^^ ^'^^^'* telephoned me to come here. 
lAYLUK — Uh, you got her message? 
Amy — Yes, where is my sister? 

lMY^S?;"rif "^'f °f.i^"/n l^'-and. Won't you sit down? 
AMY — No, 111 wait outside for her. 

TAYLOR— (Evasively)—Shen be back shortly; she said to tell 
you to wait-- (Po^nts to chair-she sits.) While she was here 
she was kind enough to give me some information in reference 

to I'dVt'o^US'nforCtt. ''' ^"^^^^^^^ ''^' ^- -^^^^ '^ ^^^e 

Amy — (Frightened) — I ? 

TAYLOR— (Handling papers of Bronson case. Sharply)— Uow 
'^''^A^.'i-^/'f.^'^^'' >^°"^ ^^^ter's jewels were stolen? 

AMY-(N^^ ly^_^^ j_j ^^^^ ^^ dressing table one 

morning and they weren't there. ^ 

did'^^ou^d^of"^^'"'""'^^^^""^^' '^'^ "^'"'"'^ '^^'^- Then what 

ta^vt"7)^^^.7;M telephoned the company. 
AVV^^H^~ ,.^^^?^t consulting your "sister? 
t^vtT^^o ""u'"^^""^^^ "^^^ °^t of town. 
diamond^^w^S; h°e"?'^' '°" ^"°" ^°"" '''''' ^^^"'^ taken her 

bef^r^IhT^lffr'"''"^^"^^^' ^ '^^"^ '^' "^"^^ have told me 

^.v^^^^^~7^^' ^°" ^^^"^ so— but you didn't telegraph her to 

A^A"/^ h^^°^^ >^°" put in the claim? ^ 

T^^7.^p''?u/vf^ ^"^ 'onfused)-Why, no-no 

you'^^J'^q^.^e-tKghrtl^i;^;^ ^^^^'^^ ......)-Well, 

^fy~(Relieved)-Yes, of course. 

lAYLOR— (Pi^^j down papers and eyes her keenlv)—Thfrf^'^ 
ZJIT" *^' '""' ''''"'' ^^"^'= --^ stolen"'''i\ave"thl 

TwrT^^'";?''"-''*^-"^"" have the thief? 
robl^^y'-our liS?' ""■" Cartwright-IVe arrested the man who 

AMY— The man! 

TAYLOR— Yes, poor devil— he has a wife and children too 

AMY''%r'i V""'•.^^' "^f'^ S""'y ^"d he's got to go ?o aU! 
TA Yt7.r V ^' "-f^W-Are you sure he's guilty? ^ 

AMY-!?;i^o-n'^!;!r''^^' ^°" ^"^ '■^='^°" '° think he's not? 
moJey^o? Vc?iLd°""'' v""*"" '\' diamonds are recovered, the 

TAYLOR— (Triumphantly)— I thought so Tl^af ^^„ 

wm^have to be returned to'^he comp^y-you still "ht'e T^^ 



16 UNDER COVER 



Amy — (Quickly) — No. 

TAYLOR— (Sharply)— Wh^t did you do with it? 

AMY — (Hesitatingly) — I — I paid a lot of bills. 

TAYLOR— (QinV^/30— What sort of bills? 

AMY — Why, dressmakers, and hats and things. 

TAYLOR — (Quickly) — Of course, you have receipts for the 
money? 

AMY — Why — why, I don't remember. 

TAYLOR — Oh, you don't remember ; but you do remember 
who 3^ou paid the money to? 

AMY— Why, ves. 

TAYLOR— (Quickly)— Who was it? 

AMY — I can't tell you. I won't answer any more questions 
until my sister comes. 

TAYLOR — (Strongly) — You've got to answer me. 

AMY — (Rising) — I won't — I won't. 

TAYLOR — (Rising, triumphantly) — And I know w^hy you 
won't — it's because you 

ETHEL — (Enters, stands in door C) — What on earth 

AMY — (Hearing Ethel's voice, she runs over to her) — Oh, 
Ethel why did you ask me to come here? 

ETHEL — (Up C her arm round Amy. To Taylor) — What 
did you mean by sending that message to my home saying I wanted 
to see my sister? 

TAYLOR— (Bluffing, behind desk)— What message? 

ETHEL — (Cross down to desk R) — Oh, you needn't think you 
can fool me. When I telephoned home just now they told me 
there had been a message from me asking my sister to meet 
me here. 

TAYLOR: — (Crossing to foot of desk, pushes huzzer) — Well 
I wanted to question her about the theft of those diamonds. I 

have (Ethel looks at Amy.) She's had some very interesting 

things to say. (Duncan enters L just inside door.) 

DUNCAN — Bronson'shere, sir (Exits, leaving door open.) 

AMY — (Frightened, takes a step toivard Ethel, under her 
breath) — Bronson ! 

TAYLOR— (0-o.y.y^.y to back of desk R, then turns)— U you'll 
excuse me, I'll leave you ladies to talk things over. — (To Ethel) — 
I'd advise you to question your sister. Miss Cartwright; you may 
find it quite interesting. (Ethel crosses to C. — Amy drops in 
chair.) 

ETHEL — My sister and I won't submit to this treatment. 

TAYLOR — I'm sorry but you'll have to wait till my return. 

ETHEL— But 

TAYLOR — You'd better (Look at Amy) — If you want to 

avoid trouble for your sister. (He exits door L.) 

ETHEL — (Amazed, turns to Amy) — What's happened — what 
is it — what did he ask you ? , 

AMY — (Hvstericallv) — Oh, Ethel.— they know— they know 

ETHEL— Know what? 

AMY — That man suspects — I know he does — the way he spoke 
to me. 



UNDER COVER 17 



ETHEL — What are you talking about — suspects what? 

AMY — Oh, Ethel, don't let them take me away — oh, don't — 
don't. 

ETHEL — (Sharply. Draws a step away from her in amaze- 
ment) — What are you saying? 

AMY — Your jewels weren't stolen — {Pause) — I took them — I 
pawned them. 

ETHEL— Amy ! 

AMY — I took them. I had to have money. A woman told me 
I could get it by pretending to the company the things were stolen 
and they'd pay, and I did it — I did it. 

ETHEL — {Stunned, horrified — unbelieving) — Amy, you swindled 
the company! 

AMY — Yes. but I couldn't help it. I didn't mean to — I didn't 

ETHEL — Why — why — why — for God's sake, tell me — why? 

AMY — {Turns her head away) — Oh, I lost a lot of money 
gambling — playing bridge. 

ETHEL — Playing with whom? 

AMY — {Avoiding Ethel's gaze; turns, faces R) — Oh, they're 
people you don't know — and one night — we'd all had dinner together 
at Claremont — and they wanted to play bridge — I said no at first, 
but they insisted — I got excited — I didn't realize how much I was 
losing — I kept on trying to get even but I couldn't— I lost a thousand 
dollars. 

ETHEL— Amy! 

AMY — Oh, I know. I know — but I didn't mean to ( Turns 

to Ethel) — Ethel, believe me, I didn't — I didn't 

ETHEL— What happened then? 

AMY — I couldn't pay, of course, and the other women said 
they'd expose me and tell you and mother — and put me in jail. 
I didn't know^ what to do. I went out of my head, I think; a 
man there, Philip Sloane. offered to lend me money. 

ETHEL — {Horrified)— You didn't borrow from that man? 

AMY — I did. What else could I do? You weren't here and 
I had to do something right aw^ay. 

ETHEL— But what about the jewels? 

AMY— When he'd lent me the money Oh, I can't tell even 

you, Ethel, what he said — I never knew there could be men 
like that. When I wouldn't — wouldn't go away with him and do 
as he wanted, oh, he threatened all sorts of things. I had only 
one idea then, to pay him back, no matter what happened. I 
pawned your diamonds and I paid him. — {She sinks into chair, 
crying.) 

ETHEL — {Puts arm around her) — My poor sister— my little 
Amy — I'm so — so sorry for you. Why — why didn't you tell me so 
I could help you? 

AMY — {Looking up into her face) — I was afraid to. I meant 
to tell you next month, when we got that money from father's 
estate; I thought we could pay the company then so I wouldn't be 
a thief any more. Oh, I'm glad I've told you now; I've been 
so frightened. 

'ETH'Eh— {Soothing her) — There — there — there — — 



18 UNDER COVER 



AMY — And this man knows. I could tell he did — that's why 
he sent for me; can't you see now he suspects, can't you? 

ETHEL — Yes, yes, I see — that's what he's been leading up to, 
but he can't be sure or he'd have accused you direct. Oh, thank 
God you've told me. 

AMY — (Quickly) — Oh, Ethel, don't let them take me away — 
don't let them put me in prison ! I'd die, I'd die. Don't, please — 
don't let them. 

ETHEL — Ssh ! Sssh ! Don't say anything before him, no 
matter what happens. He may try to trap you; let me do all the 
talking; no matter what he says, don't answer him. Do you 
understand ? 

AMY— I'll try, I'll try. 

ETHEL — (Comforting her) — Stop crying. You've got to keep 
control of yourself. He doesn't know anything. If you'll just do 
as I say I'll get you out of it somehow. I'll save you — I promise — 
you believe me, don't you? 

AMY — Yes, Ethel, I believe you. 

ETHEL — Now talk of something else — anything 

AMY — Oh, I'm afraid — I'm afraid I'll break down. I can't do 
it. Can't I go home now? 

ETHEL — (Turns up C; Amy follows) — Yes, that'd be best; 
quick, before he comes back. 

TAYLOR — (Entering) — I'm sorry. Miss Cartwright, but you 
can't leave. 

ETHEL — My sister isn't well; she must go home. 

TAYLOR — I've listened to your sister's confession — it's very 
complete. — (Lifting dictagraph off desk L.) — You see, we have a 
dictagraph here. — (Going towards Amy) — Young woman, you're 
under arrest. — (Amy in Ethel's arms.) 

ETHEL — No, no, don't take her — take me. She's only a child ; 
don't spoil her life. I'll go. I'll do whatever you like; it doesn't 
matter about me. For God's sake, don't do anything to my sister. 

TAYLOR— She's guilty, and the law 

ETHEL — Please don't send her to prison. If someone pays, 
what difference does it make to you? If you'll just let her go, I'll 
do anything. Isn't there anything I can do? 

TAYLOR — (After a pause) — Yes, there is. You can accept my 
proposition to enter the secret service of the United States Customs. 

ETHEL — Oh, yes, yes; anything. 

TAYLOR — Now you're talking. Then we won't send your 
sister to prison. 

AMY — Oh! — (She breaks down, sobbing.) 

ETHEL — You won't tell Bronson? 

TAYLOR— No. 

ETHEL— Ah ! 

TAYLOR — Now that I realize the situation I'm very sorry 
for you both, so suppose we leave that little episode of the jewels 
as between your sister and her conscience so long as you do what 
I ask. I'll let you know when I need you. It may be to-night, it 
may be in a month, but when I want you 

ETHEL— I shall be ready. 



UNDER COVER 19 



DVNCAlSi— (Entering L)— Say, Chief 

TAYLOR— Get out. I'm busy. 

DUNCAN — I thought you'd want to know the Mauretania's 
coming up the bay now. 

TAYLOR — She is ! — Wait a minute. Now, good afternoon, Miss 
Cartwright. Remember what's at stake — your future — your sister's 
happiness, my silence, depend on your not failing me. 

ETHEL — (With a break in her voice) — I shall not fail you. 
(She takes Amy out C. Duncan crosses up and closes door C.) 

TAYLOR — (Coming down to desk R) — Did Brown phone you 
from quarantine? 

DUNCAN — Yes, sir; Steven Denby did not declare the neck- 
lace 

TAYLOR — Ah, then I was right — Denby is trying to smuggle 
it — Jim this is the biggest job we've ever had. 

DUNCAN — I'v got Ford and Hammet all ready to meet him at 
the dock. 

TAYLOR — Don't send 'em — there's to be no search. 

DUNCAN— No search? 

TAYLOR — Let 'em slide through with the ordinary examina- 
tion. Trail 'em to Long Island, to be sure they don't slip it to 
someone on the way — but no fuss, no arrests. Meanwhile get up 
a warrant, a fake warrant, for the arrest of Miss Amy Cartwright. 
It may come in handy. 

DUNCAN— Yes, sir. 

TAYLOR — Now change your clothes. Bring Gibbs with you; 
meet me at the Pennsylvania Station at six o'clock. 

DUNCAN— Where are we going? 

TAYLOR — (Going to door center) — To Long Island to call on 
Miss Ethel Cartwright. 

DUNCAN — (Excited) — Then you can use her to land Denby? 

TAYLOR — (Turning to Duncan) — Use her?! — (With grim 
humor) — Say, Jim, she doesn't know it, but she's going to get that 
necklace for me tonight ! 

(He exits hurriedly center door as 



THE CURTAIN FALLS. 



20 UNDER COVER 



Act 2 



SCENE I. 

The scene is the large hall or living room of the Harrington 
country home on Long Island. The furnishings and atmosphere 
should he charming, and while simple, indicate both the good taste 
and the wealth of the owners. There are two French windows 
right center leading out to the lawn and double doors right to the 
dining room and one at left to the library; an alcove at left in 
which are the first half dozen steps and the landing of a flight 
of stairs leading to the floor above. There is a table at center, 
chairs around it, and a fireplace at left with a club fender and a 
half folded screen. Other furnishings as necessary. The back drop 
indicates a lazvn and distant trees. 

{In Act IV large table is moved slightly to left and 

arm chair is put back of it; and three stools 

around it for card game.) 

DISCOVERED — Michael Harrington in arm chair L of table 
L, reading a magazine and sipping a Scotch highball. On the table 
is a bottle of Scotch, a syphon and also a pint bottle of champagne. 
Harrington is a man of fifty-five or sixty, genial, charming and 
with a sense of humor. He is in love with his wife, although he is 
always by way of poking fun at her, and she at him. His desire for 
highballs is more of a hobby because his wife forbids his drinking 
rather than a real keenness for alcohol. He is conscious of his own 
frailty. 

There is a toot of a motor horn heard in distance. 
LAMBART — {Enters R. Lambart is a smart English butler) — 
Mr. Harrington, the car is just coming up the drive— Mrs. Har- 
rington is in it. 

MICHAEL — {Rising hastily) — Great Scott, my wife — the boat 
must have docked early. — {Crosses R, toward door R.) 
LAMBART— Yes, sir. 

MICHAEL — Get rid of these! — {Indicating bottles) — And not 
a word, Lambart, not a word. 

LAMBART — Certainly not, sir — I quite understand. I was 
valet to an English lord for seven years. You can rely on me, sir. — 
{He exits L U with the tray. The motor horn is heard full blast 
off R. Nora Rutledge is heard calling off' R. Nora is a clever young 
ingenue of twenty-two or twenty-three, with a tendency toward pert 
remarks, whose pertness must be removed by the charm of her own 
personality.) 

NORA — {Excitedly, off stage) — Mr. Harrington! Mr. Har- 
rington! Alice is here {Enters door R, comes R of table C.) 

Alice is here, and Monty Vaughan is with her. 

MICHAEL — Fine, fine. How is she — have they had a good 
voyage? — {Alice Harrington enters door R and rushes into 



UNDER COVER 21 



Michael's arms.) — My George! I'm glad to see you. — (He leads 
her down to front of table.) 

(Alice Harrington is a delightful woman of thirty-four, in love 
with her husband, aware of his foibles, humoring them and yet 
maintaing a maternal watchfulness over him. She is very smart. 
She has an ingenious realisation of her own sarcasm and irony 
that takes the sting out of her remarks. She is never bitter, 
merely humorous.) 

ALICE — (In his arms, patting him on back) — You dear old 
thing. 

NORA — (R of table, as Monty Vaughan enters. Monty is a 
good-looking young man of twenty-five or twenty-six, with a slight 
mustache which he is continually fussing with. He is Denby's 
opposite — timid, high strung, nervous, but basically not really a 
coward) — Hello, Monty! 

MONTY — (Shaking her hand enthusiastically) — It's bully to 
find you here. I nearly hugged you. 

NORA— Well, why didn't you? 

MONTY — (Stretching out arms) — I've a half mind to. 

NORA — (To Alice) — No, not now. It's cold. Hugs must be 
spontaneous. 

ALICE— (To A^ora)— Where's Ethel? 

NORA — We didn't expect you for another half hour — she's 
upstairs, changing — she'll be down in a minute. 

MONTY — (Over R to Michael) — I say, old man, why weren't 
you down at the dock? 

MICHAEL— Wife's orders. 

ALICE — I should say so. I know of no greater nuisance than 
having people meet you at the pier. — (To Michael) — You were very 
obedient. 

MONTY— The perfect husband! 

ALICE — (Smiling) — Well, I wouldn't say that 

MONTY — (To Alice, as he looks at his hands) — If you don't 
mind, I'll go and wash up. (To Nora) — I've got almost all of 
Long Island in my eyes. — (He starts to go R. Alice and Michael 
move L so that Alice can sit in arm chair.) 

NORA — Go ahead — perhaps you'll be able to see me better 
then. 

MONTY — (Behind couch) — I couldn't see you better if I tried. 
I'll meet you in the pagoda in five minutes. — (As he goes) — It's 
mighty nice to see a pretty girl again, who talks American. 

NORA — As if men cared what girls say It's the way they 

look that counts. — (Monty exits door R.) 

MICHAEL— (To Alice)—D\d you have a good trip? 

ALICE— (Sits arm chair L of fa&/^)— Bully— Steven Denby's 
most attractive and mysterious. 

MICHAEL— (L of Alice back to fire)—Dtn\iyl Oh, yes, I'd 
quite forgotten he was coming. Where is he? 

ALICE — The limousine was so full of Monty and me and 
bags and things we put him in the big car. They had a blow out 
five miles from here but he'll be along presently. 



22 UNDER COEVR 



NORA — {Drop down R of table to stool in front) — What Mr. 
Denby is he? 

MICHAEL — Yes, I never heard of him — who is he? 
ALICE — Perhaps that's what makes him so mysterious — I 
haven't the least idea. 

MICHAEL — Then why on earth have him down here? 

ALICE — Because Monty suggested it. They went to school and 
college or some thing together — and because, even if I am mar- 
ried — (Smiling at Michael) — love has not made me blind to other 
charming men. 

NORA— Will I like him? 

ALICE — I did the minute I met him — he has a sort of "come 
hither" in his eyes and the kind of hair I always want to run my 
hand through. You will, too, Nora. 

NORA — But you see I'm not a married woman, so I haven't 
your privileges. 

ALICE — Don't be absurd. I haven't done it — but I may. 

MICHAEL— I don't in the least doubt it! 

ALICE — He has such an air — sort of secret and wicked. He 
might be a murderer or something fascinating. 

MICHAEL — Splendid fellow for a week end! 

ALICE — (Looks at her watch. Rises and is going) — Heavens! 
I ought to dress. 

NORA — (Goes round R of table and up L to stairs) — Come on. 
I can't imagine what's keeping Ethel. 

MICHAEL — (As Alice moves toward stairs) — Oh, just a min- 
ute, Alice. 

ALICE — Run along, Nora — I'll be right up. 

NORA — I'll go wait for Monty. I think you're going to be 
lectured. — (She exits at French windows.) 

ALICE— What is it? 

MICHAEL — (Brings her down to L of table, she on his R) — 
I just wanted to tell you how mighty glad I am to see you. 

ALICE — And, Mikey, dear — I'm mighty glad to see you. 

MICHAEL — Are you really? You're not missing Paris. 

ALICE — Oh. Paris be hanged. I'm in love with a man — not a 
town ! 

MICHAEL— It's still me? 

ALICE — Always you I One big reason I like to go abroad 
is because it makes me so glad to get back to you. — (She sits on 
arm of chair.) 

MICHAEL — (Playfully reproving) — See here, now, every time 
I want a little trot around the country and suggest leaving, you 
begin 

ALICE — Oh. that's very different. When we do separate I 
always want to be the one to leave, not to be left. 

MICHAEL — (Nodding his head) — It is much easier to go than 
to stay. I've been pretty lonely these last six weeks. 

ALICE — Even with all the Scotch you wanted? 

MICHAEL — 'Tisn't nearly as much fun to drink when you're 
away. It takes the sport out of it not to be stopped. 

ALICE— Fibber ! 



UNDER COVER 23 



MICHAEL— Well, most of the sport— (Holding her off at 
arm's length.) — Do you know I sometimes wonder whatever made 
you marry me. 

ALICE — Sometimes I wonder, too — but not often ! I really 
think we're the ideal married couple. 

MICHAEL— Do you, honestly? 

ALICE — Yes. We're sentimental when we're alone and critical 
when we've guests. 

MICHAEL — That's true — most people hate each other in pri- 
vate and love each other in public. — (He hugs her.) 

ALICE — You are a dear old thing. 

MICHAEL — Do you know, I don't feel a bit married. I just 
feel in love. 

ALICE — (Rises) — That's the nicest thing you ever said to me. — 
(She kisses him.) — But I must find Ethel. — (He is holding her 
hands.) 

MICHAEL — You know you've made me fairly dizzy. I need 
a drink to sober up. 

ALICE — (Drawing away from him) — I believe you've been 
trying to get around me just for that. 

MICHAEL— Oh, no you don't. 

ALICE — No, I don't Mikey. — (Monty and Nora enter at French 
window.) 

NORA — (L of Monty by window) — Heavens, still lecturing, 
you two? 

MONTY — You do look rather henpecked, Mr. Harrington. 

MICHAEL — Yes, we've been having a dreadful row. 

ALICE — Now, I a7n going upstairs to see Ethel. — (She exits. 
Michael waits till she has gone upstairs, then crosses to Monty 
and Nora.) 

MICHAEL — I think I'll go for my one solitary cocktail. — 
(Crosses them and turns.) — In my own private bar, but keep that 
confidential. — (He exits R. There is a slight pause.) 

MONTY — (Going toward French windows) — I wonder where 
the deuce Steve is? A blow out oughtn't to keep him all this time. 

NORA — What's the matter with you, Monty? 

UO^TY—Ue? — (Turns to her.) —Kothmg.— (Suddenly) — 
What's that? 

Nora— What? 

MONTY— Oh, nothing. 

NORA — (Crosses toward couch) — You never used to have a 
nerve in your body — now — you jump at everything. 

MONTY — (Coming down to her L) — Why, I guess I am a bit 
nervous. Steve and I are in a big deal together — and it's got me 
sort of anxious. 

NORA — You don't mean to say you've gone into business? 

MONTY — Well, it's not exactly business — it's something secret. 

NORA — Well, if it frightens you so, why go in it? 

MONTY — Well, everything was sort of tepid in Paris. 

NORA— Tepid— in Paris?! 

MONTY — Well, even Paris can get like that when you live 



24 UNDER COEVR 



there. I wanted excitement, and when Steve told me about his 
scheme 

NORA — {Crosses to couch; she sits at L side) — Oh, if it's 
exciting tell me about it. 

MOXTY — I wish I could but I promised Steve. We're pretty 
old friends. 

NORA — I know, I know. You and he went to college to- 
gether and sang "a stein on the table" and went on sprees together, 
and made love to the same girls, and played on the same teams. 
I know all that college stuff. 

MONTY — But we didn't go to college together. 

NORA — But Alice said you did. 

UO^TY— {Anxiously)— Oh, did she? 

NORA — Well anyhow, don't be reminiscent, Monty. I hate men's 
reminiscences. They make me so darned envious. I wish I'd been 
a man. 

MO^TY— {Smiling)— I don't. 

NORA— Don't try to flirt with me. 

MONTY— Why not? 

NORA — You don't know how. 

MONTY — Teach me. 

NORA — It can't be taught. It's got to be born in you. — {Pause. 
She looks dozvn. He leans on back of couch.) — Well, go on. 

MONTY — {Reflectively) — I wonder where Steve is. 

NORA — {Exasperated)— You're hopeless! I don't know where 
"Steve" is and frankly I don't care. I hope he's under the car 
with gasoline dripping in his eyes. 

MONTY — {Coining to her — suddenly) — Do you know, Nora, 
for the last year there's been something trembling on my lips 

NORA — {Ecstatically) — Oh, Monty, don't shave it off — I love it. 

{Alice and Ethel come downstairs in order named. Michael 
enters from right at the same time zuiping mustache, works back 
to L of Ethel.) 

IS^ORA— {Rising)— Here's Ethel. 

ALICE — Monty, I want you to know my very best friend, Miss 
Cartwright. Mr. Vaughan.— (5"/z(? goes around back of them toward 
couch.) 

ETHEL — {Offering hand) — How do you do? 

MONTY — {At back of table shakes her hand. Alice to stool R 
of table) — How do you do? 

MICHAEL— (^^ fire place)— Be kind to him, Ethel, he's a 
nice boy. 

NORA — {Sitting on couch) — And an awful flirt. 

MONTY— Oh, I say 

ALICE — {Sitting on stool) — Are you a flirt? 

MONTY— No. 

ALICE — Of course he never dares flirt with me. That's the 
penalty of age. I've known him a disgracefully long time — ever 
since the Palisades were that high. 

ETHEL — {Down to arm chair L of table) — I'm sorry I couldn't 
get down to the dock to meet you, Alice. 

ALICE — Thank heaven you didn't. 



UNDER COVER 25 



ETHEL — But I had some business 

MICHAEL — Business in August? I say, you do look a bit 
fagged — no bad news I hope. 

ETHEL — {N ervously) — I was afraid it might be but it came 
out better than I hoped. 

ALICE— How's Amy? 

ETHEL— (A^^rz/ow^/3;)— Oh, she's all right. 

MICHAEL — We ought to have had her down here. 

ALICE — No, we shouldn't. I didn't intend it to be a big party, 
and, anyhow, young men are scarce in August. 

MONTY — {Standing by couch) — I wonder where Steve is? He 
ought to have fixed that tire by now. 

NORA — Why do they call those tires quick detachable? 

ALICE — I hope he hasn't gone over the cliff. 

MICHAEL — So do I. It was a mighty good car, too — almost 
new. 

ETHEL — Is someone else coming? 

ALICE — A perfectly charming man — Steven Denby. 

ETHEL — (Her face lighting up) — Steven Denby? 

ALICE — Yes. Do you know him? 

ETHEL — Indeed I do. — (Nora rises.) 

MONTY — (Surprised) — You know Steve? 

NORA (Over beside Alice) — Tell us about him. 

MICHAEL— Who is he?— (Monty drops down R.) 

ALICE — Isn't he fascinating? 

ETHEL — I know him and that's really all I can tell you. I 
met him in Paris a year ago. 

ALICE — Didn't you like him? 

ETHEL — (Frankly) — Yes. I did, very much. 

NORA — (Disappointed) — Well, he's evidently yours for this 
week end. 

ETHEL — Oh, I dare say he won't even remember me. 

NORA— Oh, I'll bet he will, and I'll just have to stick around 
with Monty. — (Turns to him.) 

MONTY — (Grandly) — Oh, I don't particularly mind. — (Dress- 
ing bell rings, off stage.) 

MICHAEL — (Rises) — Time to dress, good people. 

ALICE — (Turning at stairs) — Come, Nora; come, Monty. 
You'll have to amuse yourself. Ethel; you can't depend on Michael. 
— (Monty exits.) 

MICHAEL— Quite right, my dear. 

NORA — I think I'll go strum a bit. — (She exits door right.) 

MICHAEL (Crosses toward door R) — I'm going for my one 
solitary cocktail. 

ALICE — (At Stairs) — And only one! 

MICHAEL — You know me, my dear. 

ALICE — That's why I said only one — and wait for Mr. Denby 
— tell him we'll be down in a minute. 

MICHAEL — I'll send him in to Ethel. — (Alice exits upstairs.) 

ETHEL — Yes. do. (Michael exits door R. Motor horn is 
heard in distance. Ethel goes up and looks out of French window. 
Motor horn is heard in short, full blast. Ethel goes down to couch 



26 UNDER COVER 



and arranges herself as if in anticipation of Denby's arrival. Con- 
fused murmur heard off of Michael welcoming Denhy.) 

{Steven Denhy enters R. Denby is a young man of thirty or 
thirty-one, charming, good looking, with, as Mrs. Harrington says, 
a "come hither" in his eye. He is cool, self-possessed, quiet; noth- 
ing ruffles him. He takes adventures as they come — and let 'em 
come often! He is the kind that women pursue and yet men 
respect. He is a man's man and a woman's lover. He crosses 
toward stairs; Ethel attracts his attention with a cough. He turns 
and sees her.) 

DENBY — {Most enthusiastically. Crosses to her offering his 
hand) — Why, how do you do, Miss Cartwright? 

ETHEL — {Graciously, shaking hands) — How do you do, Mr. 
Denby? 

DENBY — Mr. Harrington said there was a surprise in here 
for me, but I had no idea it would be so delightful — how are you? 

ETHEL — {Gaily) — Splendid — and you? 

DENBY— Grateful to be here 

ETHEL — I didn't think you'd remember me. 

DENBY — Remember you? Why it was only day before yester- 
day we were in Paris. — {They both sit.) 

ETHEL — What are you doing in America? — {Piano starts off 
stage with some light waits.) 

DENBY — Oh, I thought I needed a run over to see if New 
York was finished yet. 

ETHEL — Are you still doing — nothing? 

DENBY— Still— nothing. 

ETHEL — Ah — I did have hopes of you. 

DENBY— {M eaningly)— And I of you. 

ETHEL — {Changing the subject) — I'm afraid I don't admire 
idlers Why don't you do something? 

DENBY — It's so difficult to get a thrill out of business. 

ETHEL— And you must have thrills? 

DENBY — Yes, it's such a dull, old world nowadays. 

ETHEL {Jokingly) — Why don't you take to crime? 

DENBY— {Mockingly)— Ah, the stake's too high— a thrill 
against prison ! 

ETHEL— Oh, you want little thrills? 

DENBY — No, a big one — life or death — but not prison 

{Piano stops) — And you? You are still doing nothing, too? 

ETHEL— Nothing. 

DENBY— Still Miss Cartwright? 

ETHEL — Only Miss Cartwright. 

DENBY — {Leaning tozvards her) — Good! — {Embarrassed as she 
looks quickly at him) — By George, it doesn't seem a year since that 
week in Paris. 

ETHEL— No, it doesn't. 

DENBY — What made you disappear just as we were having 
such bully times? 

ETHEL — I had to come back to America suddenly; I had only 
an hour to catch the boat — didn't you get my note? 



UNDER COVER 27 



DENBY — Of course I didn't. I thought you'd dropped me. I 
tell you I hit with an awful crash. 

ETHEL — (Encouragingly) — No, I hadn't dropped you — in fact, 
I thought it was just the other way. 

DENBY — I should say not ! I did try to see you when I was 
over here six months ago, but you were at Palm Beach. — (Whim- 
sically.) — I can't tell you how often I've sent you telepathic mes- 
sages — ever get any of 'em? 

ETHEL — Some of them, I think. . . . And now we meet 
on Long Island. It's a far cry to Paris. 

DENBY — Oh, it's people who make places — the places them- 
selves don't matter — you and I are here. 

ETHEL— (^'/^'/tm^r)— Still, Paris is Paris. 

DENBY — (Sighing) — Rather! Do you remember that after- 
noon in front of the Cafe de la Paix? We had Vin Gris and 
watched the Frenchman with the funny dog, and the boys calling 

La Presse (Piano starts "Un Peu d' Amour") — and the old 

woman with her news-stand? 

ETHEL — (Romantically) — And there was a hole in the table- 
cloth 1 

DENBY — (Smiling) — And wasn't it a dirty table-cloth?. — (Ro- 
mantic) — And we had tea in the Bois at the Cascade, and the Hun- ' 

garian Band played "Un Peu (He hears piano playing "Un 

Peu d' Amour" and marks the coincidence.) — "Un Peu d' Amour." — 
(They listen to it for a second; she hums.) 

ETHEL — (Romantically) — And the poor skinny horse in our 
fiacre fell down and we walked all the way home out of pity. 

DENBY — You were tender hearted. 

ETHEL — Do you remember the dinner at Vian's that night 

(Pause) — Wasn't the soup awful? 

DENBY — (Smiling) — Ah, but the string beans! 

ETHEL — The string beans were an event. 

DENBY — And afterward I can remember a moon over the Bois 
as we sat under the trees, can you? 

ETHEL— (5o/%)— Yes.— (Piano stops.) 

DENBY — (Leaning over her) — And the day we went through 
the whole Louvre — (Pause) — in an hour — and the loveliest picture 
I saw was — you! — (Pause. He sighs. She sighs. Pause. Lambart 
interrupts the picture. He comes from R U.) 

LAMBART — Pardon me — (Denby coughs, embarrassed, and 
walks away) — there is a gentleman to see you. Miss Cartwright. — 
(He hands her card on tray.) 

ETHEL — (Rises) — To see me? — (She takes card; looks at it, 
startled.) — Ask him to come in. — (Turns to Denby) — Will you for- 
give me? 

DENBY — (Going) — Surely — I must dress, anyhow. 

LAMBART — Your room is at the head of the stairs, sir. — 
(Lambart exits L.) 

DENBY— (On stairs)— TAX dinner? 

ETHEL — Till dinner. — (Denby exits upstairs. Ethel shows 
great anxiety. In a moment Taylor enters.) 



28 UNDER COVER 



TAYLOR — (Enters door L. Genially) — Good evening, Miss 
Cartwright. — {He puts hat on small table near French window.) 

ETHEL — {Trembling) — My sister? Nothing's happened? She's 
alright ? 

TAYLOR — Sure, sure, I haven't bothered her — the little lady's 
alright. 

ETHEL — {Alarmed) — What are you doing here? 

TAYLOR — I thought I'd drop in in reference to our little chat 
this afternoon. — {He crosses R. Ethel up to stair, looking off. 
He looks about.) — Ah, nice place here. 

ETHEL— Yes, but 

TAYLOR — I suppose you remember our conversation? 

ETHEL — {Coming down) — Of course, of course. 

TAYLOR — You said when I needed you, you would be ready. 
— {During this scene he glances around apprehensively.) — Well, I 
need you now. 

ETHEL— Now? But I don't understand. 

TAYLOR — A man smuggled a two hundred thousand dollar neck- 
lace through the customs to-day. For various reasons we allowed 
him to slip through thinking he'd fooled us. Now that he believes 
himself safe it ought to be easy to get that necklace. In fact, we've 
got to get it — through you. 

ETHEL — Through me? But I wouldn't know how to act — what 
to do. 

TAYLOR — You're too modest. Miss Cartwright. I'm quite sure 
you'll be very successful. 

ETHEL — But I'm spending Sunday here — I couldn't very well 
make an excuse to leave now. 

TAYLOR — You don't have to leave. 

ETHEL— What? 

TAYLOR — The man who smuggled that necklace is staying 
here — his name is Steven Denby. 

ETHEL — {Startled) — Steven Denby? You must be mad — he 
isn't a smuggler. 

TAYLOR— Why isn't he? 

ETHEL— I know him. 

TAYLOR— You do? Where did you meet him? 

ETHEL— In Paris. 

TAYLOR — How long have you known him? 

ETHEL— A year. 

TAYLOR— What do you know about him? What's his busi- 
ness — what does he do? 

ETHEL— Why— nothing. 

TAYLOR— Nothing, eh? Well that hardly proves he's not a 
smuggler. 

ETHEL — I'm sure you're wrong. He's my friend. 

TAYLOR — Your friend! — {Change to insinuating tone) — Well, 
that ought to make it much easier for you to get him. 

ETHEL — I'm certain he is absolutely innocent. 

TALYOR — This is your chance to prove it. 

ETHEL — But I couldn't spy on a friend. 



UNDER COVER 29 



TAYLOR — If he's innocent it can't make any difference, he'd 
never know — if he's guilty he deserves punishment — you've no right 
to try to protect him. You would merely be doing your duty in 
helping to detect a criminal. 

ETHEL— No, no, I can't do it. 

TAYLOR — You're going back on your agreement, eh? Suppose 
I go back on mine? 

ETHEL— You wouldn't do that. 

Taylor — It's give and take in this world. 

ETHEL — But I couldn't be so contemptible. 

TAYLOR — (Meaningly) — Now you'd better think it over, Miss 
Cartwright. I would if I were you. 

ETHEL — But suppose you're wrong — suppose Mr. Denby has 
no necklace — then 

TAYLOR — Don't you worry about that. Our information is. 
positive. We got a telegram late this afternoon from a pal of his 
who's squealed giving us the tip about the necklace. Well, what 
do you say? 

ETHEL— Oh, I can't— I can't. 

TAYLOR — (With menace) — It's Steven Denby — or your sister. 
Which are you going to choose? 

ETHEL — (Quietly) — Then I have no choice. What do you want 
me to do? 

TAYLOR — Good ! Denby has that necklace concealed in a 
tobacco pouch, a brown leather tobacco pouch, he always carries 
in his pocket — you must get that pouch. 

ETHEL— Ssh! How can I? 

TAYLOR— I'll leave that to you. 

ETHEL — (Pleadingly) — But why ask me — can't you do it? 

TAYLOR — It may be a bluff, some clever scheme to throw me 
oft the track. I'm not going to risk a mix up with the Harringtons, 
or tip my hand until I'm absolutely sure. Denby's your friend — 
you can easily find out. If you discover the necklace is in that 
tobacco pouch, get Denby to go for a walk in the garden, say you 
want to look at the moon, say anything, but get him in the garden 
and we'll grab him there. 

ETHEL — But he might go out there alone. 

TAYLOR — If he comes alone we won't touch him, but if he 
comes with you we'll know. 

ETHEL — But if I can't get him to go into the garden? 

TAYLOR — If you're sure he has it on him — or if you make 

certain just where he has concealed it (Looks around thinking 

for a second or two) — Pull down one of those window shades. My 
men and I can see those windows from the pagoda. When we get 
that signal we'll come in and arrest him — you understand? 

ETHEL — Pull down the window shade ! 

TAYLOR — Yes; but be careful. Don't bring him out in the 
garden and don't signal, unless you are absolutely positive. 

ETHEL— Yes, yes. 

TAYLOR — And under no circumstances must you mention my 
name.. 

ETHEL— But 



30 UNDER COVER 



TAYLOR — There's no "but" about it. It is most important to 
the United States Government and to me that my identity is in no 
way disclosed. 

ETHEL — But it may be necessary. 

TAYLOR — It cannot be necessary. If you tell Denby I'm after 
him — if it comes to a show down — I'll not only swear I never saw 
you before — but I'll put your sister in prison. 

DENBY — (Heard off stage) — Thanks very much, Lambart. 

TAYLOR — (Hurriedly going up to French window) — Good 
evening, Miss Cartwright. Don't forget you get Denby to-night. — 
(He exits. Ethel is left there miserable and wretched. Dinner 
chimes ring off stage. Denby comes down stairs.) 

DENBY — Ah, dinner. Come, I wish it were Paris, with the hole 
in the table-cloth, and the eventful string beans, and the gay old 
moon — but, after all, what do they matter? It's a great world — 
you're here, and I'm hungry. Are you hungry? — (They are walk- 
ing off R, as the curtain falls.) 

CURTAIN. 

(Curtain remains down thirty seconds to indicate a lapse of two 
hours until after dinner.) 



SCENE 2. 

(Curtain rises on a dark stage. Lambart enters from R, turns 
up lights and exits L U. During this Ethel, Nora and Alice are 
heard talking. At Lambarfs exit, they enter.) 

NORA — {To couch) — What I can't see is why we didn't stay 
and have our cigarettes with the men. 

ALICE — Oh, I always leave the men together ; that's the way I 
always get the newest naughty stories. Michael tells 'em to me later. 

NORA— Alice ! 

ALICE— (^^ R of table C)— Oh, I, like 'em when they're really 
funny ; so does everybody else. Besides, nowadays it's improper 
to be proper. Cigarette, Ethel? 

ETHEL — (Who has got by mantel, now crosses to table and 
sits in front of it) — You know I don't smoke. 

NORA — That's so old fashioned. I'd rather die than be that. 
I do wish, though, I enjoyed smoking. — (Coughs slightly.) 

ALICE — (Sits stool R of table) — Nora, what did you think of 
our new friend, Mr. Denby? 

NORA — I like him in spite of the fact that he didn't notice me. 
He couldn't take his eyes off Ethel. 

ALICE — I saw that myself. You know, Ethel, I meant him to 
take you in to dinner, but Nora insisted that she sit next to him. 
She's such a man-hunter. 

NORA— (i? of C) — You bet I am — that's the only way you can 
get 'em. 

ALICE — Didn't you and Mr. Denby have a tiny, tiny row? You 
hardly spoke to him all through dinner. 

ETHEL— Didn't I? I've a bit of a headache. 



UNDER COVER 31 



NORA — I'll bet they had a lovers' quarrel before dinner. 
ALICE — (Smilingly interested) — A lovers' quarrel? 
NORA — Certainly. I'm sure Ethel's in love with him. 
ETHEL — (Rise; embarrassed) — How perfectly ridiculous. Nora, 
don't be silly. I met him for a week in Paris, that's all. I did find him 
interesting. He had big talk as well as small, but as for love — 
please don't be idiotic. — (Crosses to fender seat and stands.) 
ALICE — Methinks the lady doth protest too much ! 
NORA — Well, I don't blame you — if he'd give me a chance I'd 
fall for him in a minute, but attractive men never bother about 
me. The best I can draw is Monty. I'm beginning to dislike the 
whole sex. — (Step to R.) 

ALICE — Theoretically you are quite right, my dear. Men are 
awful things, — God bless 'em — but practically — well — some day 
you'll explode like a bottle of champagne and bubble out all over 
some man. 

NORA — (Step to L) — Speaking of champagne. I wish I had an- 
other of Michael's purple drinks. — (Crosses to Alice.) 

ALICE — Do tell him that. The surest way to Michael's heart 
is through his buffet. He's taken to mixing cocktails now in a 
graduated chemist's glass. He should have been a bartender. 
NORA — Is he drinking as much as ever? 

ALICE — When I am at home? I should say not. Nothing 
after one a. m. If he goes to bed then he's all right; if he doesn't 
he sits up till five going the pace that fills. I wouldn't mind if it 
made him amusing, but it doesn't — it merely makes him sleepy. 
For heaven's sake, Nora, do sit down. 

NORA — (Crosses to L of Alice) — I can't. I always stand up 
for twenty minutes after each meal. It keeps you thin. 

ALICE — (Eagerly) — Does it? — (Rising) — Does it, really?— 
(Comfortably) — Still, I lost nine pounds abroad. 
NORA— Goodness ! How ? 
ALICE— Buttermilk. 

NORA — I walked four miles this morning in a rubber suit and 
three sweaters, and gained half a pound. 

ALICE — I do wish hips would come in again. 
(Michael, Monty and Denby heard speaking off; they enter R.) 
(Nora crosses to L back o'f table.) 
DENBY — It's a delicious liqueur. 

(Alice has crossed over to couch and Nora behind table meets 
Denby.) 

MICHAEL — I used to think so too before my wife stopped my 
drinking. — (Denby comes to Ethel.) 

^ MO'NTY~(Back of couch 7?)— Fine stuff. I can still feel it 
warming up all the little nooks and crannies. 
DENBY— Purple but pleasing. 

ALICE — Michael, did they tell you any stories — purple stories? 
DENBY — (Standing behind table C) — We don't know any new 
stories, we've been in England. 

ALICE — Do sit down, all of you. We've been standing up to 
get thin. 



32 UNDER COVER 



MICHAEL — Come on. If they're going to discuss getting thin, 
let's get out. 

MONTY — Woman's favorite topic. — (Alice sits down.) 

NORA — (Coming around table; to Alice) — But you mustn't sit 
down yet. It isn't twenty minutes. 

ALICE — Well, I think it's twenty minutes and if it isn't I don't 
give a damn. 

MICHAEL — Women are so self-denying! — (Denby moves over, 
standing L of table C.) 

ALICE — By the way, Nora, there was a girl on the boat who 
lost twelve pounds. 

MICHAEL — Twelve pounds ! Why that's sixty dollars. How 
women gamble. 

ALICE — Pounds of flesh — pounds of flesh. She was on a diet — 
she didn't eat for four days. 

NORA — Oh, that's a fine idea. I must try it sometime — when 
I'm not hungry! — (Nora sits front of table C.) 

ETHEL — (Suddenly coming into the conversation) — Speaking 
of the boat, Alice, what did you smuggle in? 

(Denby gives her a quick look, then smiles at the folly of his 
suspicion.) 

(During this talk about smuggling, Monty looks anxiously at 
Denby and foot by foot, watching him, moves over till he is behind 
table C.) 

ALICE — Not a thing this time. I declared every solitary stitch. 

MICHAEL — (Sits) — I'd like to believe you — but knowing you as 
I do 

ALICE — I paid seven hundred dollars duty. 

NORA — Disgusting. 

MICHAEL— What mental revolution was responsible for your 
deciding that smuggling is wrong. 

ALICE — I don't think it's wrong — you men seem to — but I'd 
swindle the government any day. 

NORA — Then for heaven's sake why , 

ALICE — Behold my reformer, Mr. Denby. 

ETHEL — (Suspicious and nervous, speaks quickly) — Mr. Denby? 

NORA— What did he have to do with it? 

(Ethel has little part in the following conversation, but is most 
keen, alert, and watchful.) 

ALICE — He frightened me. 

MICHAEL — I want to have a good look at the man who can 
do that. 

DENBY — I'm afraid Mrs. Harrington is exaggerating. I merely 
explained that things lately had been in rather a muddle at the 
customs. 

ALICE — They didn't give us the least bother at the dock. 

DENBY — That sometimes means the greatest possible trouble 
afterwards. 

NORA— How can it? 

DENBY — Well, according to some articles in McClure's a few 
months ago, by Burns (Turns to Ethel.) 



UNDER COVER 33 



NORA — Oh, was it in dialect? I love Scotch stories. 

DENBY — (To Nora) — I'm afraid you're thinking of the wrong 
Burns ; this wasn't Bobby, the poet. It was Bill, the detective. 

ETHEL— What did he have to say about it? 

DENBY — It seems that very often a dishonest official will let 
a prominent woman, like Mrs. Harrington, slip through the lines 
without the least difficulty — even if she is smuggling — only after- 
ward to come to her home, threaten exposure and a heavy fine. 
Usually the woman or her husband will pay largely to hush things 
up. That's why I advised Mrs. Harrington to declare everything. 

ALICE — Even so, I'd never have listened to you if you hadn't 
scared me half to death with that talk about R. J. 

ETHEL— What's R. J.? 

MICHAEL — Sounds like a collar or a corset. 

ALICE — He's one of those frightfully clever detectives who 
"git you if you don't watch out." 

NORA — Oh, he sounds fun. I adore detectives. I read Sher- 
lock Holmes six times. Do tell us about him, Mr. Denby. 

DENBY — I know very little — just that he's supposed to be one 
of those impossible secret service agents, travelling incognito, all 
over the place. He's known only by his initials — R. J. The stormy 
petrel, some people call him, always in the wake of trouble. Where 
there is intrigue, diplomatic tangles — if the Japs steal a fortifica- 
tion plan — or Germany sends a cross country aeroplane to drop a 
bomb on the Singer Building, R. J.'s supposed to be there — and 
catch the bomb. 

NORA — What an awfully unpleasant position ! 

DENBY— You see I thought I ought to tell Mrs. Harrington 
about him, because we heard in Paris that he was busy over here, 
now — with the customs. 

MICHAEL — But what I can't see is — suppose Alice had smug- 
gled and she came through without any fuss, as she did, how on 
earth, without a search, could they know she had anything dutiable, 
and if they didn't know that how could they blackmail her? 

DENBY— Oh, that's the simplest part of it— the clerk in Paris 
who sells you a set of sables or some rare bit of lace, is most of 
the time a government spy, unofficially, and directly after he has 
assured you : "It is simple to smuggle, one can hide things so 
easily" he is cabling the customs here of your purchase. 

MICHAEL — They do that? I never did trust Frenchmen — the 
sneaks ! 

ETHEL — (Rise, leaning forward, coquettishly to Denby) — Tell 
me truly, Mr. Denby, didn't you smuggle something, just one tiny 
little scarf pin? 

DENBY — {Turning to her) — Truly, nothing — not even one tiny 
little scarf. What makes you think I did? 

ETHEL — It seemed to me that your protection of Mrs. Har- 
rington was so very insistent you must have been afraid that she, 
less clever than you — would be caught. 

DENBY— But how could that affect me? 

ETHEL — If she were found out that might direct suspicion 
to you. 



34 UNDER COVER 



MICHAEL — That sounds plausible — come on, Denby, fess up, 
what did you bring in? 

DENBY — Only myself and Monty — but you see he isn't dutiable. 
(Monty goes up to window and in a moment strolls back to table.) 

ETHEL — Well, I'm not convinced, Mr. Denby, that it wasn't 
one thought for Alice and two for yourself. 

MICHAEL — (Rising) — Come on, Denby, tell us 

NORA— (Rising and coining to Denby) — Oh, do! It'd be so 
nice if you were a criminal — and had your picture in the Rogues' 
Gallery. 

ALICE— Yes. do tell us, Mr. Denby. 

MICHAEL — We'll keep mum, we won't turn you over to the 
police. 

ETHEL — You're safe with us. 

DENBY — Oh, I'm sure of that — so sure that if I had anything 
to tell I'd tell it. 

NORA — That's always the way — every time I meet a man who 
seems exciting, he turns out to be just a nice man — I hate nice men! 
— (Goes and stands by Monty behind table.) 

ETHEL — Yes — you are a disappointment — couldn't you think 
of any new way to smuggle? 

DENBY — Oh, it wasn't lack of ingenuity — just respect for 
the law. 

MICHAEL — I didn't know we had that in America any more. 

ETHEL — (Taking cigarette box from mantel, crossing left to 
Monty, then to Michael.) — Cigarettes, gentlemen? 

MONTY — (Taking one) — Thanks very much. Miss Cartwright. 

MICHAEL — No, I want something I can get my teeth in. 

ETHEL — (Crossing back to R of Denby) — You, Mr. Denby? 

DENBY — Thanks, no — I'll roll my own — if you don't mind. — 
(He has taken pouch from pocket and starts to roll a cigarette. 
Ethel starts as she sees the pouch, and shuts the cigarette box with 
a click.) 

NORA — Oh, can't you do it with one hand — like the cowboys 
do in books? 

DENBY — (Smiling) — I'm sorry to disappoint you again, but I 
find two hands barely enough, 

ETHEL — Sometime you must roll me one, will you? 

DENBY — With pleasure. — (He finishes the rolling and lights his 
cigarette.) 

ALICE — But you don't smoke. 

ETHEL — Ah, but I've been tempted. 

NORA — The only thing that makes my life worth living is 
yielding to temptation. 

MICHAEL— (Rising)— Well I'm thirsty,— who'll split a pint 
of Brut Imperial? 

ALICE — (Rising) — That's your last drink to-night. 

MICHAEL — I'm not likely to forget it — you know, my wife 
thinks I'm a restaurant — she closes me up at one sharp. 

ALICE — Shall we have some bridge, Ethel? 
ETHEL — Thanks, no, I've given it up. 
NORA — (Surprised) — Why you used to love it. 



UNDER COVER 35 



ETHEL — I've come to think that all gambling is — horrible. 

MICHAEL — Me too, unless stocks go up or the Democratic 
party goes down I'll be broke soon. How about a game of pool? 
— (Crosses to door R.) 

NORA — (Enthusiastically) — I've never played, but I'd like to 
learn. 

MONTY — That'll make it a nice game ! 

ALICE — I suppose there's nothing else to do but turkey trot. 
Come, Nora. 

MICHAEL — Well I'll play pool or bridge or poker — I'll sit or 
talk or sing, but I'll be hanged if I'll turkey trot. 

ALICE — Oh, if you were only light footed instead of light 
headed. — (Alice and Michael exit R.) 

NORA — Coming Monty? — (She follows Michael and Alice 
off R.) 

MONTY — Sure, but I'd much rather tango. — (He starts to 
go R.) 

DENBY— (Detaining him)— Oh, Monty. 

ETHEL — Aren't you playing, Mr. Denby? 

DENBY — In just a moment. There's something I want to say 
to Monty. 

ETHEL — (Crossing up between the men toward Door R) — I 
know — man's God — business. 

MONTY — ^\Ve have rather a big deal on 

DENBY — Yes, a two hundred thousand dollar proposition — so 
we're a bit anxious. 

ETHEL — (A look on the mention of the amount) — I should 
think anyone would be — in your place — but don't be too long, I shall 
want that cigarette presently. — (She goes out door R. Denby stands 
looking after her.) 

DENBY— Bully, bully girl. 

MONTY — (Anxiouslv at left of couch R) — Anything wrong, 
Steve? 

DENBY — (Coming out of his trance and down to Monty) — ^I 
don't understand why they haven't done anything. I'm certain we 
were followed from the dock. 

MONTY — Why. you're crazy. If they'd had the least idea about 
the necklace they'd have pinched you at the pier. 

DENBY — That's just what makes me suspicious — they let us 
slide through too easily. 

MONTY — They were mighty casual. 

DENBY — And Cartier's must have tipped off some of the cus- 
toms crowd that I got the necklace there. It all looks fishy. They're 
up to some new dodge. 

MONTY— You're too fidgety. 

DENBY — You don't know the game as I do. — (He goes around 
table to light switch up on center wall by window) — Get over by 
that window. — (Monty starts hurriedly for the window) — Easy, 
easy. — (Denby has got to light switch and quickly turns it — the 
lights go out — leaving stage in darkness except for the moon light 
coming through the French windows.) 

MO'^TY— (Excitedly)— Wh2it the dev 



36 UNDER COVER 



DENBY — Is any one there on the lawn? 

MONTY — No. ... By Jove, yes there is — there's a man over 
by the big oak. 

DENBY— What's he doing? 

MONTY — Just standing, looking over this way. 

DENBY — He's watching this house. Anybody with him? 

MONTY— No. 

DENBY — Come away, Monty. — {He switches lights on) — Now 
do you believe they've followed us? 

MONTY — The chills are running up and down my spine. Gee, 
I hope we don't have a fight. 

DENBY — Don't be nervous, old man, they won't touch you. 

MONTY — They won't? Those fellows are likely to shoot first 
and explain afterward. 

DENBY — {Quoting Monty's previous speech) — Nonsense, you're 
too fidgety. 

MONTY — Why the deuce don't they come in? 

DENBY — I think they'll stay out to keep us in. 

MONTY— I hope they do. 

DENBY — They must have someone here on the inside — working 
under cover to try to get the necklace. 

MONTY— Who can it be? 

DENBY — {Up to window) — That's what we've got to find out, 
and then, Monty — then we'll have some sport. 

MONTY — {Disgustedly) — Then we'll have some shooting. Say, 
where's that necklace now? 

DENBY — {Up at French windows looking out; Monty hack to 
audienc e)^Stil\ in my tobacco pouch. — {Ethel opens door R very 
quietly and stands listening) — I know they mean business. This 
is going to be a fight, Monty — a fight to the finish. — {Monty sees 
Ethel and interrupts Denhy, sharply.) 

MONTY — Will you have a cigarette, Dick? — {Denhy wheels 
about quickly — picture — Ethel seeing she is discovered, comes down 
smiling.) 

ETHEL — Still talking business? I left my fan here somewhere. 

DENBY — Girls are always doing that, aren't they? We'll 
help you find it, eh, Monty? 

MONTY — {Nervously, crosses to sofa) — Sure, Steve, sure. 

ETHEL — Steve? But as I came in I thought I heard you call 
him Dick. 

MOIETY— {Embarrassed)— Who? Me? Why 

DENBY — {Promptly) — Oh, that was a signal in our private 
code. 

ETHEL — It sounds mysterious. 

DENBY — It's only commonplace. My favorite parlor trick 
is making breaks, and good old Monty has invented a signal to 
warn me when I'm on dangerous ground. 'Will you have a ciga- 
rette, Dick,' he says. 

MO^^TY— -{Relieved)— Yes, that's it. 

ETHEL— But why, Dick? 

DENBY — Oh, that's the signal — if he said Steve I mightn't 
notice it — so he always says Dick; don't you, Monty? 



UNDER COVER 37 



MONTY— Always, Steve. 

ETHEL — (Gaily) — Were you about to make a break when I 
came in ? 

DENBY— I'm afraid I was. 

ETHEL— What was it— do tell me? 

DENBY — Ah, if I told you then it would indeed be a break. 

ETHEL — Discreet man ! You must have been talking about me. 

DENBY — You are imaginative — even about your fan — there 
doesn't seem to be a sign of it here. — (He goes toward fire-place.) 

ETHEL — (Going toward stairs) — I dare say it must be in my 
room. May I have that promised cigarette now to cheer me on 
my way? 

DENBY — Surely. — (He takes pouch from pocket and rolls 
cigarette.) 

MONTY — Can't I get your fan for you? 

ETHEL — No; you'd have to rummage and that's a privilege 
I reserve only for myself. 

DENBY— Here you are. 

ETHEL — (Taking cigarette; licks it and puts it in mouth) — 
You are expert. 

DENBY— Match?— (0#mK^ one lighted.) 

ETHEL — Thanks — (He lights her cigarette; she takes one puff 
amateurishly — gives slight cough) — What a delicious cigarette. — 
(Denby turns away and smiles; she holds out hand and touches 
pouch showing she wishes to get hold of it) — What sort of tobacco 
is it? 

DENBY — (Not giving her the pouch) — ^Without fire. 

ETHEL— Without fire? 

DENBY — Yes. You see, no smoke without fire. — (He puts 
pouch in his pocket.) 

ETHEL — You don't believe in that old phrase? 

DENBY— Not a bit ... do you ? 

ETHEL — (As she goes) — No. Do make another break some 
time — wont' you, Dick? 

DENBY — I probably will — unless Monty or you warn me? — 
(Denby to R of stairs.) 

ETHEL — (On first landing of stairs, leaning over balustrade) 
I'll never do that — I'd rather like to see you put your foot in it — 
you seem so very sure of yourself — Steve! — (She laughs and exits 
upstairs.) 

MONTY— Say, who is that girl? 

Ti'E'^'BY— (Looking after her)— Why, Ethel Cartwright. 

MONTY — Yes, yes, but what do you know about her? 

DENBY — (He crosses toward Monty down stage) — Nothing, 
except that she's a corker. 

MONTY — You met her in Paris, didn't you? 

DENBY— Yes. 

MONTY — What was she doing there ? 

DENBY — (Turning and coming to him) — What on earth are 
you driving at? 

MONTY — She was behind that door, trying to listen to- us. 

DENBY— (QmV^/3;)— You thought that, too? 



38 UNDER COVER 



MONTY — (Triumphantly) — Then you do suspect her of being 
the one they've got on the inside? 

DEN BY — It can't be possible — that girl — no, I won't believe it. 

MONTY — (Suddenly) — Say, Steve, you're not sweet on her? 

DENBY — (Overdoing his denial) — No, no, no, no, I know 
you're wrong — it's impossible. 

MONTY — But you have the same idea I have. 

DENBY— (Slowly)— I know, I know.— (Reluctantly)— She did 
seem mighty interested in my tobacco pouch. 

MONTY — But how could she know the necklace was there? 

DENBY — They've had a tip, and if she's one of 'em she'd 
know. Wouldn't it be just my rotten luck to have that girl — 
of all girls I've ever known — mixed up in this. 

MONTY — I believe you're in love with her. — (Takes a step 
or two to R.) 

DENBY — (Looks toward stairs, speaks slowly) — I know I am. 

MONTY — (Coming back to Denby) — Oughtn't we to find out 
if she's the one who's after you or not? 

DENBY— No, we oughtn't. I'm sure now. I won't insult her 
by trying to trap her. 

MONTY — Flub-dub. I suspect her. Isn't it only fair to her 
to clear her of that suspicion — if she's all right, I'll be darned 
glad of it — if she isn't, wouldn't you rather know? 

DENBY— But, old man, I don't want to fight her. 

MONTY — I understand, but you can't quit now — you've got to 
go through. 

DENBY — I suppose you're right. 

MONTY— Of course I am. 

DENBY — Understand, Monty, I'm only doing this to prove how 
absolutely wrong you are. 

MONTY— Sure, Steve, sure. 

DENBY — Go in there and keep the rest of the people from 
coming back. 

MONTY— How can I do that? 

DENBY — Oh, recite, make faces, do imitations, play going to 
Jerusalem (Comes to left side of table, facing up stage.) 

MONTY — (Going to door R, turns) — And say, old man, what- 
ever turns up, don't take it too hard. Just remember what hap- 
pened to Sampson and Antony, and Adam. — (Monty exits R. As 
soon as he has done so, Denby takes pouch and places it conspicu-^ 
ously on the floor, goes up and looks upstairs, pauses, changes his 
mind, and then returns and puts pouch on table, starts to hide 
behind French windows, stops, crosses L. Gets behind door at 
L, leaving it partially open so he can see out. He is visible to 
audience. After a second's pause, Ethel speaks, coming down- 
stairs.) 

ETHEL — Oh, Mr. Denby, my fan was in my room (She 

pauses as she sees he isn't there.) 

(She looks around the room and sees the pouch. She starts 
for it, pauses, suspecting a trap, goes over to French window, looks 
out. Comes back, goes for pouch, then pauses and sees that door 



UNDER COVER 39 



L is slightly ajar. She is now absolutely aware of his trap. She 
moves nervously; then, as she gets within range of the door, 
changes to a determined walk, and goes to bell over mantel and 
she rings for servant without ever looking at the door. Lambart 
enters R.) 

ETHEL — Lambart, please find Mr. Denby and say that I am 
here. 

LAMBART— Yes, madam. 

ETHEL — (Coming to table) — Oh, here's Mr. Denby's tobacco 
— he must have forgotten it. — (Lambart comes and picks up pouch.) 
— No, I'll give it to him. 

LAMBART — Yes, madam. — (She pretends to try to take it 
from his hand and pulls it open. It falls to floor, scattering 
tobacco.) 

ETHEL — How careless of you, Lambart. — (She looks keenly 
at spilt tobacco and sees no necklace has dropped from it.) 

LAMBART— I beg pardon, madam. — (He picks up pouch.) 

ETHEL— Did you spill all the tobacco? 

LAMBART — Yes, madam, the pouch is quite empty.— (He 
hands it to her, she gives sigh of relief. He starts R.) 

ETHEL — (Nodding her head to L door) — No, I think Mr. 
Denby went to the library. 

LAMBART — Yes, madam. — (He goes to door; but Denby, 
realising he must not be seen there, has gone. Lambart opens 
door) — No, madam, Mr. Denby is not in the library. — (Lambart 
exits L U.) 

ETHEL — (Under her breath) — Thank God! — (Ethel first mak- 
ing sure that no one is watching or listening, goes quickly to French 
window and lowers the curtain as a signal. She stands breath- 
lessly happy that there is no necklace. She has pouch in her 
hand. In a moment Taylor enters.) 

TAYLOR — Well, you've got him — where is he — where's the 
necklace? 

ETHEL — You were wrong — there is no necklace. 

TAYLOR— You're crazy. 

ETHEL — You said it was in the tobacco pouch — I've searched 
— it isn't there. 

TAYLOR — You're trying to protect him — you're stuck on him 
— you can't lie to me. 

ETHEL — No, no, no. Look, here's the pouch. There's no 
necklace in it. 

TAYLOR— How did you get hold of it? 

ETHEL— He left it lying there on the table. 

TAYLOR — He did, eh? Well, of course the necklace isn't in 
it. He suspects you. He's trying to bluff you. 

ETHEL— No, no, he hasn't got it. 

TAYLOR — I know he has and you've got to find out to-night 
where it is. You may have to search his room. 

ETHEL— I couldn't. I couldn't. 

TAYLOR — Yes, you could and you will. If you land him, use 
the same signal — pull down the shade in his room. We'll be watch- 
ing; I can get in through the balcony. 



40 UNDER COVER 



ETHEL — I can't! I've done what you asked — I won't try to 
trap an innocent man. 

TAYLOR — (Snarling) — Oh, you won't, eh? Well, you will. 
I've been pretty nice to you, but I'm sick of it. You'll go through 
for me and you'll go through right. I've had your sister followed — 

see, look at this (He opens paper) — It's a warrant for her 

arrest — unless you land that necklace to-night she'll be in the Tombs 
in the morning. 

ETHEL — (Covering her face) — Oh, not that — not that 

(Comes down a few steps.) 

TAYLOR— It's up to you. 

ETHEL — (Piteously) — But what can I do — what can I do? 

TAYLOR — I'll tell you what you can do. You're a good-looking 
girl; make use of your good looks; get around him, jolly him, 
get him stuck on you — make him take you into his confidence — 
he'll fall for you — those guys always do. 

ETHEL — (Bracing up) — I know he's innocent — so — I — I will 
get around him; I will get his confidence. I'll prove it to you and 
I'll save him. 

TAYLOR — Yes, but don't give him your confidence ; don't give 
him the least tip ojff — understand? If you can get him out in the 
garden, I'll take a chance he has the necklace on him. We'll nail 
him there. And don't forget I've got that warrant. — (He exits. 
She comes down to front of table, stands there, thinking.) 

DENBY — (Entering from stairs, and going to R of table C) — 
Oh, hello! 

ETHEL — (Bracing up) — Oh, hello. — (Ethel's note during this 
scene is: '7 must get his confidence and prove his innocence.") 

DENBY — I am fortunate to find you alone. — (Ethel comes in 
front of table, sits left of it.) — You can't imagine how delightful 
it is to see you again. 

^TYLKL-— (Meaningly) — No more delightful than for me to 
see you. 

DENBY — Really ! Curious, isn't it, that when you like people 
you may not see them for a year, but when you do, you begin just 
where you left off. 

ETHEL— Where did we leave off? 
'" T>E^BY— (Embarrassed)— \Mhy—\n Paris I 

ETHEL — We are congenial, aren't we? 

DENBY — (Enthusiastically) — Congenial! We're more than 
that — we're 

ETHEL — (Quickly) — And yet somehow you've changed a lot 
since Paris. 

DENBY — For better or for worse? 

ETHEL — For worse ! 

DENBY — (Reproachfully) — Oh, come now. 

ETHEL — In Paris you used to trust me. 

DENBY— And you think I don't, now? 
ETHEL — I'm sure you don't. 

DENBY— Why? 

ETHEL— When I asked you why you were in America you put 



UNDER COVER 41 



me off with some playful excuse that you were just an idler. Tell 
me, didn't you come over on some important mission? 

DENBY — {Slowly, beginning to suspect her) — And if I did, 
why do you want to know? 

ETHEL — Shall we say, feminine curiosity. 

DENBY — {Seriously) — I think not. You must have some 
more vital reason for asking than a mere whim.. 

ETHEL — {Leaning forward) — I have — I want us to be friends 
— good friends — I regard it as a test of friendship — why won't you 
tell me? 

DENBY — Shall we say man's intuition? Oh, I know it's not 
supposed to be as good as woman's — but sometimes it's much more 
accurate. 

ETHEL — So you won't trust me, after all? 

DENBY— Can I? 

ETHEL — Don't you think you can? 

'D^.^BY— {Meaningly)— li you do 

ETHEL — But aren't we friends — pledged that night under the 
moon in the Bois — you see I have memories of Paris, too. 

DENBY — You put it as a test of friendship? 

ETHEL— Yes. 

DENBY — {Suddenly, about to put her to the test) — Then so 
do L Miss Cartwright, you were right. I did not come to America 
idly. I came to smuggle a necklace through the customs. I did 
it to-day. — {He rises.) 

ETHEL — {Rising — horror stricken) — You didn't — you didn't! 

DENBY— I did. 

ETHEL — {Turning toward fire-place) — Oh, I'm sorry, I'm 
sorry. 

DENBY — {Eyeing her keenly) — But I fooled 'em. 

ETHEL— (/^/ra«d for him) — Oh, but perhaps you didn't 

DENBY — {Crossing around table) — What makes you think 
that? 

ETHEL — {Nervously) — How can you be sure they didn't 
suspect? 

DENBY — Here I am and there are no detectives after me. 
And if there were, they'd never guess I carry the necklace in my 
tobacco pouch. 

ETHEL — {Quickly) — But your pouch was empty. 
DENBY— (i<:^^H/3»)— How did you know that? 
ETHEL — {Hastily) — I — I — was here when Lambart spilt it. 
DENBY — Oh, to be sure, but — I have another pouch. — {Takes 
it from his pocket.) 

ETHEL— (^£?/za,yO— Two pouches? 

DENBY— One would have done. They never suspected me 
at all. 

ETHEL — But you can't be certain. If they found out they'd 
put you in prison. 

DENBY— Would you care? 

ETHEL — Of course I would — aren't we friends? 

DENBY— Are we? 



42 UNDER COVER 



ETHEL — (Not looking at him) — Of course, of course. . . . 
But what are you going to do? 

DENBY — {Straight to her) — I've made my plans — I shan't be 
caught. If anyone is after me, I'll stop at nothing — I won't give 
in. No matter what it costs, or who it hurts — I've got to win. 

KIH^l.— {Distressed and frightened) ^Oh\ 

DENBY— What is it? 

ETHEL— (A^^rz/ow.y/3')— Oh, nothing. . . . Isn't it rather 
warm in here — won't you take me in the garden and show me the 
moon — {Comes to back of table — not looking at moon) — It's 
gorgeous. 

DENBY — Surely. Come {They start for French window, 

get half way there.) 

ETHEL — No, no, after all don't let's go. — {Turning back to 
R of table.) 

DENBY— Why not? 

ETHEL — {Shaking) — I don't know, but let's stay here. I'm 
just nervous. 

DENBY — Nonsense. The moon will take your nerves away — 
he's very soothing, that old chap. — {Pause; Ethel is R of table; 
he takes step to her) — What is it? You're miles away. 

ETHEL — {Slowly) — I'm thinking of my sister — come, let's go. — 
{They start up toward French window.) 

DENBY — Surely, there are many things I can tell you {Nora 

litters shrill scream off R. A slight pause and Monty rushes on 
through French window.) 

MONTY — {Sharply) — Look out, Steve, don't go out there! 

DENBY— What's the matter? 

ETHEL— (Ar^rz;oM.s/3))— What— what is it? 

MONTY — Nora and I went for a walk in the garden and 

suddenly two men jumped from behind the pagoda {Denby 

gives Ethel a look. Frightened, she stares straight ahead at the 
audience.) — They started for us and one man said: 'No, we're 
wrong,' and Nora screamed and they turned and ran like the very 
devil. — {Nora, Alice and Michael enter R, talking excitedly, and 
they so play the following:) 

NORA — Wasn't it awful — has Monty told you? 

ALICE — What's happened? 

MICHAEL — Won't somebody explain? 

NORA— Oh, it was perfectly frightful 

MONTY— Let me tell it 

NORA — You'll get it all wrong — I wasn't half as scared as 
you were. 

MONTY — I was talking to Nora — and suddenly from the 
bushes 

NORA — Somebody stepped right out 

MICHAEL — Wait — wait — one at a time. 

NORA — Why, you see Monty and I went for a walk in the 
garden 

MONTY — And two men jumped out and started for us 

MICHAEL— Great Scott! 

ALICE— What did you do? 



UNDER COVER 43 



NORA — I screamed — and they ran away — wasn't it exciting — • 
(Taking a deep breath) — just like a book. 

ALICE — They might have killed you. 

MICHAEL — You want a drink — I'll ring for some brandy. 

MONTY — I'd be alright if I could get just one long, deep 
breath. — (Michael, Alice and Nora go up to window.) 

DENBY — You do look a bit shaken, old man. What you need 
is a comforting smoke — there's a pipe in my suit case. 

MONTY— But 

DENBY — Here's my tobacco. — (Hands pouch to Monty). 

MONTY— Gee, I don't want that. 

DENBY — (Looking at Ethel) — That's all right. I've smoked 
enough for to-night, anyhow. Only when you're through with it 
just drop it in the drawer of the desk in my room, so I'll have it 
for coffee in the morning. 

MONTY— Sure, Steve, sure. 

MONTY — (Crosses up toward stairs) — I'll leave the pouch in 
the drawer. — (Exits upstairs.) 

ALICE — But suppose those men are robbers and try to break 
in here to-night? 

DENBY — I'm sure they were only a couple of tramps. 

ALICE — Oughtn't we to do something? 

MICHAEL — (Weakly) — Do you want me to go look for them. 

ALICE — Certainly not. I can imagine nothing more useless 
than a dead husband. 

MICHAEL — I absolutely agree with you. 

ALICE — Go telephone for the police. 

MICHAEL— I'll do that with great pleasure.— (//^ exits R.) 

NORA — (Going toward stair) — Goodness! I left my rings on 
my dressing table. 

ALICE — Heavens ! Let's get them (She crosses toward 

stair. Nora runs upstairs and off) — Ethel, you look frightened 
to death. 

ETHEL — (On fender seat) — Oh, no, no. 

ALICE — You needn't worry — after all, we've two men here — 
and Michael! — (Alice exits upstairs.) 

DENBY— Now shall we look at the moon? 

ETHEL — But those men out there 

DENBY — I'm sure they weren't after me. They wouldn't wait 
in the garden. And even if they are detectives, the necklace is 
safe now — come (Moves to go.) 

ETHEL — No, no, I've nerves, I'm afraid. It's been rather an 
upsetting evening — I'd prefer to stay here. 

MONTY — (Comes downstairs nervously) — I thought I'd rather 
be down here with you, Steve. 

DENBY — (Smiling) — All right, old man. Did you leave the 
pouch in my desk? 

MONTY — Yes. To make sure you'd find it in the morning 
I locked it up — here's the key. 

D^^'QY— (Taking key)— Good ! 

ETHEL — (Registering this talk of pouch) — Good night, Mr. 
Denby. — (Goes to stair.) 



44 UNDER COVER 



DENBY — (FolloTmng her to stair) — You're not leaving? 

ETHEL— Yes, I'm quite tired. I think I'll go to my room. — 
{Going up the stairs.) 

MONTY — Oh, I guess everything's all right now. 

DENBY — Let's hope so. Still the night isn't over yet. Pleasant 
dreams. 

ETHEL — (On stair, half way to top landing) — I'm afraid they 
won't be quite — that! — (Exits. Denby at bottom of stair looking 
after her.) 

MONTY — Say, Steve, she's gone now to get into your room. 

DENBY— No, no, she hasn't. 

MONTY — Why, she never made a move to leave till she knew 
I'd put the pouch in the drawer, 

DENBY — I tell you you're wrong. 

MONTY — I tell you I'm right — if she gets that necklace, it's 
all up with us. 

DENBY— But she won't get it. 

MONTY— What's going to stop her? 

DENBY — The necklace isn't up there. 

MONTY- — What! — (Denby draws the necklace from a false 
pocket under the right lapel of his coat. Relieved.) — Gee, then 
everything's all right. 

DENBY — But everything's all wrong 

MONTY— But, Steve— the necklace 

DENBY— Oh, damn the necklace! 

MONTY— Steve, you're a fool. 

DENBY— (^/ow/y)— I guess I am! 



THE CURTAIN FALLS. 



eJt 



UNDER COVER 45 



Act 3 



SCENE. 

The scene is Denhy's room at the Harrington s. An attractive, 
daintily furnished guest chamber. There is an entrance door up 
lefi center; a door at left to another room; an alcove with a bed 
and appropriate furniture in it; a French window at right with a 
balcony off. A table desk at right center ; a couch down left with 
a small table beside it. Other furnishings as necessary. 

When the curtain rises the stage is in complete darkness, save 
for the moonlight, which streams through the window. There is a 
slight pause. A key is heard rattling in lock of door left. Ethel 
opens the door and runs cautiously across stage to the desk. She 
turns on lamp on desk. After a quick survey of desk she takes 
paper knife and tries to open drawer. She hears footsteps in hall; 
stops, listens, and runs up to center door and listens; runs back 
to desk and turns off lamp, and in doing so accidentally brushes 
paper knife on to floor. She runs off stage at door left. 

After a slight pause Denby enters at door center with noisy 
assurance. He stops just inside the door and utters a stifled yawn 
as he switches on lights. He goes over to desk, looks out at win- 
dow, then takes necklace from lapel and looks at it and puts it on 
the desk, then he goes to alcove and changes his evening coat for 
a dinner jacket. He comes out, takes cigarette from pocket and is 
in the act of lighting it when he spies paper knife on floor. He 
throws cigarette and match away and hurries to pick up knife, 
strikes match and examines drawer, then goes to door at left and 
stands listening. A knock is heard at center door. He hurriedly 
goes to desk, gets necklace, puts it in his pocket, comes back to 
couch, takes book from small table and sits on couch, reading. 

DENBY— Who is it? 

MOISITY— (Outside)— Me. 

DENBY— Come in, Monty. 

MONTY — (Enters C, comes down quickly to Denby, nerv- 
ously) — Is everything all right? 

Tf'E^'EY— (Laughing)— Yts, yes. 

MONTY — Thank the Lord. That's the first time I've been able 
to swallow comfortably in an hour. I thought my heart was per- 
manently dislocated. — (Crosses to left of table R.) 

DENBY — What's happening downstairs? 

MONTY — Nothing. And it's the limit to have nothing happen. 

DENBY — Did you search the garden again? 

MONTY — Yes, they haven't come back. 

DENBY— That's queer You're sure? 

MONTY— Lambart and I've been over the whole place — garden 
— shrubbery, — even the cornfield — not a trace of 'em. 

DENBY— Well, they will be back 

MONTY— I'll bet they will— with the militia! 

DENBY — Don't lose your nerve, Monty. 



46 UNDER COVER 



MONTY — I wish I would. This certainly is getting on it — 
and all the time I've got that creepy feeling that they're coming 
closer to us. 

DENBY— But that's real sport, Monty. 

MONTY — Sport be damned. You don't think the fox enjoys 
the hunt, do you? And, at that, he's got it on us. He knows who's 
chasing him. 

DENBY— We'll find out to-night. 

MONTY — Yes, when they shoot us full of holes. — (Comes to 
front of table.) 

DENBY— You're not afraid? 

MONTY — I'm scared to death. I thought I wanted excite- 
ment — but hereafter give me life on a farm. — (Comes to window.) 

DENBY — You can always clear out — I'll understand. 

MONTY — And leave you to face it alone — you ought to know 
me better than that, Steve. But oughtn't we to do something before 
they come back and search this room? 

DENBY — Somebody's done that already. 

MONTY— Who was it— the girl? 

DENBY — I think not. Her room is in the other wing 

She'd hardly dare risk being seen over here till everybody's gone 
to bed. 

MONTY — Then who could it have been? — (There is sound of 
footsteps and cough in the hall.) 

DENBY — Sssh (Knock at C door by Harrington.) 

MONTY— (Dropping in chair L of table)— Pmchtdl 

DENBY — Come in. — (Harrington, carrying two highballs, 
enters smilingly.) 

HARRINGTON— Hello, boys. 

MONTY — (Relieved) — Oh, it's you (He jumps up and 

crosses to window.) 

DENBY — Come in, Harrington. 

MICHAEL — Brought up a couple of highballs — you said after 
dinner you might want a Scotch later. 

DENBY— Thanks— I don't believe I do, after all. 

MICHAEL — Good! Luck's with me. — (He drains the entire 
glass with great satisfaction.) — Ah-h. How about you, Monty? 

MONTY — (Laughing.) — No, thanks. — (Comes and sits on 
table.) 

MICHAEL — Splendid fellow. I'll take the encore in a minute. 
You know, now that my wife's home — she allows me one light one 

for dinner — mostly Vermouth — and one drink afterward 

'Tain't fair. 

MONTY — Aren't you master in your own house? 

MICHAEL— You bet your life I'm not! 

DENBY — In union there is strength. Have the other. 

MICHAEL — I'm about to. Say, by the way, if you should 
change your mind and want a drink any time during the night, 
just ring for Lambart, he's used to it. 

DE}^BY—(Smiling)— Thanks. 

MICHAEL — I hope you will want one — I hate to think of Lam- 
bart's having a good night's rest for the first time in six weeks. — 



UNDER COVER 47 



{He turns up) — But, mind you don't get up half asleep and push 
that red thing over there. — {He points to alarm on the wall by 
center door.) 

MONTY— What on earth is that? It looks like a hotel fire 
alarm: "Break the glass in case of fire." 

MICHAEL — It's a burglar alarm that arouses the whole house. 

MONTY— (if ^ rises)— Wh2.t\ 

DENBY — {Laughing) — In spite of our visitors of this evening, 
you don't really fear burglars? 

MICHAEL — {Sitting left of table R) — I know it's funny, but 
I'm vice-president of the New York Burglar Insurance Company — 
and I've got to have one of all of their beastly patents in my house 
to show they're good. 

DENBY— I'll keep away from it. 

MICHAEL — The last guest who had this room accidentally 
knocked against it at four a. m. The blamed thing went off and 
Mrs. Harrington made me get up and search the whole house. At 
that I was glad it was a false alarm. — {He takes up second high- 
ball and is drinking when voices are heard off stage) — Good Lord, 

my wife ! Here — quick {Hands Monty empty glass, and 

Denby the half -filled one. Alice knocks on door C.) — I count on 
you, boys {Denby and Monty smile and nod.) 

DENBY — Come in. — {Alice and Nora enter.) 

ALICE — Do we intrude? 

DENBY— Rather no. Delightfully welcome. 

NORA — We thought you'd still be up — Michael said he was 
bringing you some highballs. 

MONTY — Great stuff, too — best whiskey I ever tasted. — {Alice 
glances at Michael, who is innocently looking at the ceiling.) 

DENBY — Your husband is a noble abstainer with temptation 
right before him. 

ALICE — Is he? How unusual — put temptation before Michael 
and he's just like old Adam — only Michael's weakness is for grapes, 
not apples. 

NORA — Alice and I aren't the least sleepy — we thought per- 
haps one of you'd make a fourth at bridge. 

DENBY — Among my other deficiencies I don't play. 

ALICE— You, Monty? 

MONTY — Surely. — {Denby shakes his head at him^Monty 
continues awkwardly) — That is if you don't m.ind waiting fifteen or 
twenty minutes. Steve and I are talking over a deal about — a — a 
gold mine. 

ALICE — Are you interested in a mine? 

DENBY — {Smiling) — Something like that. 

ALICE — {^Eagerly) — Is it going up? 

MICHAEL — You never bought a share that did. 

ALICE — I always follow your horrible example, my love. 

NORA — {Half turkey trotting) — I'd rather dance than bridge 
it. — {She hums "Get Out and Get Under" as she dances. Denby 
goes to small table head of couch L and places highball on it.) 

ALICE — Heavens, be quiet — you'll disturb Ethel. 



48 UNDER COVER 



DE^BY— (Quickly)— Has Miss Cartwright gone to bed?— (He 
goes down right.) 

ALICE— Yes, she felt rather tired. 

NORA — (Humming and dancing) — It's wrong to go to bed so 
early. It can't be much after two. — (Singing) — Oh, this is the life. 

ALICE — Hush, Nora — Ethel has the next room. — (Denby at 
book-case L, drops cigarette in vase and turns quickly.) 

NORA — I thought you weren't using it this summer? 

ALICE — Ethel insisted on it 

MICHAEL^And why the devil she was so persistent about it, 
I can't see. 

ALICE — Oh, Michael, I told you those trarnps scared her and 
she wanted to be down here near the men. — (Denby goes and picks 
up Michael's highball from table.) 

MICHAEL — I know, I know, but why make me look through 
forty-seven bunches of keys to get one to fit that door? — (Monty 
and Denby exchange glances) — Seemed positively afraid of you, 
Denby; thought you were a tough customer. 

ALICE — You're not drinking your highball, Mr. Denby. 

DENBY— I'm saving it. 

NORA — That's a hint; come on. Alice.— (She goes to door, 
humming.) 

ALICE — Coming, Michael? 

MICHAEL — In just a moment. I've got one more old wheeze 
I want to spring on Denby — he's a great audience for old ones. — 
(Nora exits.) 

ALICE — When you've told it you come directly downstairs 
and play bridge. 

MICHAEL— Certainly, my dear. 

ALICE — And, Michael — don't think you've fooled me. 

MICHAEL — (Innocently) — Fooled you? Why I'd never dream 
of even trying to. 

ALICE — (Goes over and takes highball from Denhy's hand and 
returning, hands it to Michael) — Here's the rest of your drink. — 
(She exits; Michael drinks and goes up to door.) 

MICHAEL — My wife's a damned clever woman. — (He obedi- 
ently trots out.) 

DENBY — (Quickly goes to door to make sure Michael has 
gone — then turns to Monty) — Bv George, it was that girl. 

MONTY— Are you sure? 

DENBY — (Coming down center) — She tried to pry open that 
drawer with this paper knife. You can see the marks. I found the 
knife on the floor where she dropped it, when she heard me coming 
down the hall and hurried back to her own room. 

MONTY — Gee ! That's pretty tough, old man. 

DENBY — It's hard to believe she's the sort of woman who'd 
try to take advantage of my friendship to turn me over to the 
police, but that's just what she tried to do. 

MONTY — I'm sorry, old man — mighty sorry. 

DENBY — But I don't want to fight her. — (Goes to zvindow.) 

MONTY — (Coming to left of desk) — What are you going to do? 

DENBY— (Right of desk— turning to Monty)— li she'll tell me 



UNDER COVER 49 



who it is that sent her here — the man who's after me — I'll fight him 
and leave her out of it, but if she won't I'll play her own game — 
only this time she follows my rules. — {Both suddenly start and then 
turn toward door left.) 

MONTY— (/w a whisper)— What's that? 

DENBY — Sssh (He tiptoes to door left and listens.) 

MONTY— Is she there? 

DENBY— (Nods.) 

MONTY— Has she heard us? 

DENBY — (Coming center) — No. I heard her close the win- 
dow and then she came over to the door. — (He crosses to desk.) 

MONTY — What are you doing? 

DENBY — (Writes and hands paper to Monty) — Here's my plan 
—read it. — (As Monty reads, Denby goes up to door C, reaches out 
in hall and turns off light switch, leaving hall in darkness. He 
comes hack as Monty looks up from paper.) 

MONTY — (In whisper — reading) ^nm^mg Jupiter! 

DENBY — (Low) — Do you understand? 

MONTY— Perfectly. 

DENBY — (Goes over near Ethel's door; speaks loudly for her 
benefit) — It's a pity Miss Cartwright's gone to bed; I might have 
risked trying to learn bridge if she'd been a player. She's a bully 
girl. 

MONTY — Don't talk so loud — in these dictagraph days the 
walls have ears. We can't tell who may be listening. Let's go out 
on the lawn, where we're surely safe. 

DENBY — Good idea. — (They leave Ethel's door and go to C 
door, beside which is light switch. Denby switches out light as 
he speaks loudly) — Well, Monty What's your scheme? 

(The door closes, the room is in darkness. Audience thinks 
Denby has left room, but he hasn't. Monty's voice is heard as 
he goes down the hall. His voice and footsteps fade away. There 
is silence for five seconds, then the sound of a key turning the lock 
of Ethel's door. Ethel enters, she hurries to desk, and gives one 
pull at drawer. The lights go up. Ethel gives exclamation and 
turns. Denby is standing inside door center.) 

DENBY — (Coming down center) — So. you've come for the neck- 
lace — why do you want it? 

ETHEL — (Taking a step or two, C) — I am employed by the 
government — I was sent here to get it. 

DENBY — What?^the charming Miss Cartwright a secret 
service agent — it's quite incredible. 

ETHEL— But it's true. 

DENBY— Who employed you? 

ETHEL— I can't tell you — ^ 

DENBY — Then I must refuse to believe you. 

ETHEL— But it's the truth. 

DENBY — Was it John H. Bangs of the secret service who 
engaged you 

ETHEL— Yes— yes^ 

DENBY — (Bitingly) — You lie, Miss Cartwright, you lie 

ETHEL— Mr. Denby! 



50 UNDER COVER 



DENBY — I've no time for politeness now There is no 

Bangs in the secret service. 

ETHEL — How do you know? 

DENBY — It's my business to know my — opponents. 

ETHEL — I can't tell you who it was, but if you'll just give me 
the necklace 

DENBY — And if I refuse, you'll call those men out there and 
have me arrested? 

ETHEL — I don't know — what else can I do? / can't fail. 

DENBY — Nor can I. Do you know what this means to me? — 
prison — gray walls — and iron bars — solitude — to be caged like some 
beast. Do you know what that means? — I do — I've seen it — I've 
feared it — I've gone sick at the thought of it. No, Miss Cart- 
wright, you are not going to send me to prison. 

ETHEL — But I don't want to. I don't want to do that to any 
man 

DENBY — (Quickly — coming near to her) — Then there is a way 
out of it for both of us. 

ETHEL— (£a^^r/>))— What? 

DENBY — Tell them you've failed — that you couldn't find the 
necklace — and I'll give you ten thousand dollars. 

ETHEL— No— no 

DENBY — Twenty thousand — no one but you and me would 
know 

ETHEL— No 

DENBY — Twenty thousand's all I can afford. 

ETHEL — I can't accept. I've got to get that necklace It 

means more than any money to me. 

DENBY — Ah, they have some hold on you. 

ETHEL— No— no 

DENBY — Then why should you be in the secret service, unless 
it's for money or you've been forced into it? 

ETHEL — I can't explain — what difference does it make to you 
who sent me here? 

DENBY — Because I don't want to fight a woman — any woman 
— I'll fight the man behind you — I'll beat him — will you. tell me 
who he is? 

ETHEL— No. 

DENBY — You're going to make me fight you? 

ETHEL— I've got to fight 

DENBY — Very well (Going to door L, he opens it and 

locks it, putting key in his pocket.) 

ETHEL — What do you mean? 

DENBY — I'm going to keep you here. 

ETHEL — (She tries to open hall door hut it is locked.) 

DENBY — I feared we might be interrupted 

ETHEL — (Turning to him) — Open that door 

DENBY — You don't leave until I am ready to let you go. 

ETHEL— You wouldn't do that 

DENBY — I regret the necessity of using such methods — to you 
of all people — but you leave me no choice 

ETHEL— But I don't understand 



UNDER COVER 51 



DENBY — (Coming to her as she shrinkingly hacks away) — 

Only — that you are a beautiful woman and I am a man It's 

nearly three — you are in my room after asking that your apart- 
ment adjoin mine — your insistence that a key be found, is only 
incriminating — you are frankly en negligee and very charming. 
Inevitably you must be found here — I'm afraid there can be only 
one construction put upon it. 

KYUEl^—^With hitter contempt) — I thought at least you were 
a man. — {She is in front of desk.) 

DENBY — (At center) — I am — and you are a woman — that's 
the point. . . . 

ETHEL — I thought you were my friend. 

DENBY — You dare talk of friendship ! You knew I liked 
you — liked you very much, and because you knew it you tried to 
wheedle me into betraying myself. You smiled and lied, and 
pledged our friendship, until I'd told you the truth — and all the 
time you were only trying to trap me — hunt me down — send me to 
prison. 

ETHEL— I wasn't— I wasn't 

DENBY — And when I'd told you the truth, you asked me to 
go in the garden, knowing that those men out there were waiting 
for me 

ETHEL— I couldn't help it. 

DENBY — When you thought I was sending the necklace here 
you trumped up a flimsy excuse to leave so you might sneak in 
here to get it — is that friendship? 

ETHEL— I wasn't trying to trap you — I thought you were inno- 
cent — I wanted to make sure so I could convince them. 

DENBY — Yes, you proved that. When you found out I was 
guilty you still tried, to save me, I suppose, by asking me to walk 
into their trap? 

ETHEL — (Trying to defend herself) — After all, you had 
broken the law — you were guilty 

DENBY — (Comes to her) — If you'^d only played fair — but you 
didn't — you used a woman's last weapon — her sex. Well, I can 
play your game, too — I can use your methods^and I will. You 
stay here until morning. 

ETHEL — (Frightened) — You don't dare 

DENBY— (Easily)— Oh, yes I do. 

ETHEL — (After a pause — with hravado) — And you think the 
possible loss of my reputation is going to frighten me into letting 
you go? 

DEl^BY— (Sharply)— I do. 

ETHEL — (At B of desk) — Well, you're wrong. I have only to 
tell them the truth about the necklace and what I'm doing here 

DENBY — But the truth is so seldom believed — especially when 
there is no evidence to support it. 

ETHEL — All the evidence I need is there in that locked drawer. 

DENBY — Quite so. I'd forgotten — (He goes around to hack 
of desk) — only it's not in the drawer! — (He takes it from his 
pocket and shows t'O— It's a beauty, isn't it? — (He writes quickly.) 

ETHEL — (At center)— Whdii are you doing? 



52 UNDER COVER 



DENBY — Manufacturing evidence. 

ETHEL — Meanwhile I propose to leave this room. 

DENBY — (Looking up) — How, may I ask? 

ETHEL — If you believe you've frightened me, you're quite 
wrong. — (She moves toward bell on wall left of center door.) 

DENBY — And what are you going to do? 

ETHEL — {Pushes hell violently) — I've rung for the servants! 
— {Triumphantly) — Now, Mr. Denby. 

DENBY — What a pity you did that — you'll regret it so very 
soon. — {He goes to window.) 

ETHEL — Oh, shall I ? When the servants come I shall send 
for Mr. and Mrs. Harrington and tell them exactly who you are 
— and I shall take that necklace from the room with me. 

{Denby conies to wnndow. Whistle off stage.) 

DENBY — {Throws necklace wrapped in note he has just written 
out at window) — But you see the necklace won't be here. 

ETHE'L— {Runs down by desk, as if almost to stop him, but 
the necklace is gone. She stops.) — I shall tell them it's on the 
lawn where you just threw it. 

DENBY — Wrong again. If you'll stand here, you may see 
that my friend Monty was waiting below — he has it. 

ETHEL — But your friend Monty can't get away from those 
men out there. 

DENBY — Perhaps 3^ou heard a whistle. That was Monty's 
signal telling me the coast was clear. For the moment your 
friends of the secret service have gone. 

ETHEL— But I'll tell the Harringtons about Monty, too; that 
he's your accomplice. 

DENBY — And who would believe Monty Vaughan, of the 
Washington Vaughans, the accomplice of a smuggler? 

ETHEL — {Beaten) — Oh! — {Goes back to center.) 

DENBY — {Coming to her) — You see? And since you've forced 
me I've had to play my last card, and a very low one I'm sorry to 
say. That note I wrote that I threw to Monty he'll leave on the 
floor of the living room — it was a note to you. 

^TllEL— {Amazed)— To me? 

DENBY — It contained the suggestion that you try to get the 
room next mine — that you come to me here to-night — it was the 
invitation — of a lover ! 

ETHEL — {Flaming) — You beast! You coward! 

DENBY — It's certain to be found where you apparently dropped 
it — it's evidence is conclusive. They all know we are not new 
friends. If you are still in this room in the morning — as you will 
be — what other explanation can you offer? — {She doesn't answer) 
— I think the episode of the necklace remains as between just you 
and me. 

ETHEL— (53; head of comc/i)- You— cad ! 

DENBY — The servants seem to be sleeping soundly — I fear 
they are not coming. 

ETHEL— But they will! They will! 

DENBY — {Coming to her)—li they don't, may I suggest that 
you ring that burglar alarm — it will serve your purpose even better 



UNDER COVER 53 



— it will wake up everybody. — {He speaks urgingly. She faces 
front; he is close beside her) — Why don't you ring it? I dare 
you! — (Knock on door C. She shudders. He whispers to her) 
Well, why don't you answer? 

ETHEL— (Under her breath)— No, no, I can't (She 

shrinks.) 

DENBY — Ah! — (Goes to door center — aloud) — ^Who is it? 

LAMBART— (0# stage)— You rang, sir? 

DENBY — Yes, I forgot to tell you that Miss Cartwright wishes 
to be called at seven. 

LAMB ART — Very good. Anything else, sir? 

DENBY — Call me at the same time, that's all. Good night. 

LAMB ART — Good night, sir. — (He is heard departing down 
the hall — Denby listening at door.) 

DENBY — (Mockingly; he comes down to her) — So you didn't 
dare denounce me, after all? 

ETHEL — (Trying to laugh) — Oh, I knew it was all a joke — 
that you couldn't be so contemptible. 

DENBY— (Grimly)— A joke, eh? 

ETHEL — Yes ; if you'd meant what you said you'd have called 
in Lambart just then. That would have answered your purpose-j<?-I 
knew you wouldn't — that you couldn't. 

DENBY— I'm not ready yet. 

ETHEL — (Hardly daring to believe him) — You really mean to 
keep me here? 

DENBY— I've no other course. 

ETHEL — But you can't do it. — (Clock off stage strikes three. 
Denby looks at watch and crosses to back of desk.) 

_ DENBY — (Serenely) — It's four hours till the maid goes to 
call you and finds the room empty, so meanwhile — won't you sit 
down. Miss Cartwright? 

ETHEL — (Crosses to desk, and sits chair L; after a moment 
speaks hysterically.) — Oh, I can't face it — I can't — I learned that 
just now — the disgrace^he humiliation — I can't face it! 

DENBY — (Grimly) — You've got to face it. 

ETHEL — I tell you I can't — it's unfair — it's horrible — if you'll 
just let me go I'll promise I won't betray you. 

DENBY — You don't dare keep silent about me — how can I 
let you go ? 

ETHEL— I'm telling you the truth. 

DENBY — Then tell me who sent you here. If you don't it 
means prison for me and dishonor for you — if you do, it means 
your safety — perhaps mine — now choose. 

ETHEL — I can't — I can't — oh, please, please 

DENBY^ — (Crosses to her and grasps her in his arms) — By 
God, I'll make you tell 

ETHEL — Don't touch me — let me go — don't — don't 

DENBY— Who sent you here? 

ETHEL — I'm afraid. I'm afraid. I hate you ; I hate you ! Let 
me go — let me go — don't 

DENBY— (Holding her)— Who sent you here? 

ETHEL— Oh, I'll tell. Oh, I'll tell— (Backing away from him 



54 UNDER COEVR 



as he releases her. She sinks into chair — pathetic — broken) — I can't 

go through with it — you've beaten me Oh, I've tried so hard, 

so hard, but you've won. I can't go on — oh, it's too unfair when it's 

not my fault — it's not Oh, you don't understand — you can't — or 

you wouldn't spoil my whole life like this — you wouldn't! It is not 

only me — it's my mother — my sister — Amy (She pauses. 

Looks up.) — Amy!! — (She rises) — No, I won't quit — no matter 
what happens to me — I'll expose you — I'll tell them everything — I'll 
let them decide between us — whether they'll believe you or me — it's 
you or my sister — I'll save her. 

DENBY— (^wa^^f/)— Your sister? 

ETHEL — They shan't send her to prison. 

DENBY — (Hoping against hope) — You're doing all this to 
keep your sister from prison? 

ETHEL — Yes, yes, I love her — they shan't take her. 

DENBY — Then you haven't done it because you wanted to? 

ETHEL — No, no — what else could I do — she's my sister — she 
comes first. 

DENBY — Then you weren't just lying to me — trying to trick 
me for money? 

ETHEL — No, no. Don't you see I wanted to save you, too — 
I wanted you to get away — I told them you were innocent — but 
they wouldn't believe me — they said I had to go on — if I didn't 
they'd send Amy to prison. That's why I'm here (Patheti- 
cally) — Oh, let nie go — let me go! 

DENBY — (Coming over and looking her square in the eyes) — 
Are you telling me the truth? 

ETHEL — Oh, yes — yes, can't you see I am — please — please be- 
lieve me. 

DENBY — (Still looking straight in her eyes — after a moment 
he is convinced) — It may spoil everything I've built on, but I've 
got to take the chance — (Goes to door and unlocks it) — You can 
go, Miss Cartwright. 

ETHEL — (Coming to him) — Oh, you are a man, after all. — 
(Police whistle off R. They both pause, staring front.) 

DENBY— (Hurriedly crosses to window R, and half hiding 
behind curtain, looks out) — The devil! 

ETHEL— What is it? 

DENBY — Your friends of the secret service have come back — 
they mustn't see us together — (He lowers shade on ivindow R.) 

ETHEL — (With a scream) — Oh, my God, what have you done? 
That was the signal that I had trapped you — that was the signal 
to bring Taylor here 

DENBY — (Triumphantly) — Ah, then it's Taylor who's after me? 
— (He comes back to her.) 

ETHEL — (Frightened at having told) — Oh, I didn't mean to 
tell— I didn't— I didn't. 

DENBY— Now it'll be a fight to a finish! 

ETHEL — Go, go, before he comes ! 

DENBY — And leave you to face him alone? — (A pause — he 
bends his head, and touches his lips to her hand) — No. ... I love 
you. 



UNDER COVER 55 



ETHEL — Please, please — while there's time — he mustn't take 
you — he mustn't Oh, I couldnft bear that — / coulduft! 

DENBY—(/?^a/m«^)— Ethel? 

ETHEL — {In his arms, tenderly) — I love you Oh, my dear 

— I love you. 

DENBY — {Triumphantly) — I can fight the whole world now, 
and win. 

ETHEL — No, no, for my sake go — let me see him first — let me 
try to get you out of it. 

DENBY — No, I stay here. When he comes, say that you've 
caught me. 

ETHEL — No, no, I can't send you to prison, either. 

DENBY — I won't go to prison. I'm not done for yet, but we've 
got to save your sister. Taylor mustn't think you've failed him ; do 
you understand? 

ETHEL — But then he'll take you away 

DENBY — Do as I say; tell him the necklace is here somewhere. 

ETHEL— No, no 

DENBY — It's for your sister. We're going to save her. — 

{Sound of Taylor's approach off stage.) — He's coming {Denby 

starts to door C.) 

TAYLOR — {Coming in at the window with revolver in hand) — 
Hands up, Denby! — {Denhy's hands go up) — Well, congratulations, 
Miss Cartwright — you landed him — I thought you would. 

DENBY — What's the meaning of this? Who are you? 

TAYLOR— Oh, can that bunk {To Ethel)— Where's the 

necklace ? 

ETHEL — I don't know. 

TAYLOR— You don't know? 

ETHEL — I haven't been able to find it, but it's here some- 
where. 

TAYLOR— He's probably got it on him. 

DENBY — All this is preposterous. 

TAYLOR— Hand it over. 

DENBY — I have no necklace. 

TAYLOR — I'll have to search you. — {Comes to Denby, gun in 
hand, and searches him.) 

DEBNY — I'll make you pay for this. 

TAYLOR — Will you give it to me — or have I got to search this 
place ? 

DENBY— Oh, well, if you'll let me take my hands down I'll get 
it for you. 

TAYLOR — Well, you haven't got a gun on you—take 'em 
down. 

DENBY— It's right here — {He grabs match safe off of book- 
case and smashes burglar alarm — and switches off lights. Stage 
is entirely dark.) 

{Taylor utters an ejaculation; there is the steady murmur of a 
deep gong off stage; they struggle in the dark. Ethel goes up to 
light switch R of C door. The revolver is fired in the struggle. 
Ethel screams. Ringing of burglar alarm ceases.) 

DENBY — Turn on the lights. — {Ethel switches on lights and 



56 UNDER COEVR 



comes down to couch. De.nby is seen in possession of revolver, 
just thrusting Taylor away from him.) 

TAYLOR— Damn you! 

DENBY— (To Taylor)— Sit down! Sit downl— (Taylor sits 
chair L of desk. Knocking and clamor of voices at door C. Denby 
keeping Taylor covered, backs up to door, fishing in his pocket for 
key, reaches behind him and unlocks and opens it. Michael, Alice 
and Lambart enter.) 



MICHAEL— What's the matter? I . . 

what's happened? 5 (together) 



ALICE — Good Heavens, 



DENBY — That man tried to break in here — he's a burglar — I 
caught him. 

MICHAEL— Good Lord! \ .^^,^^„,,^ 

ALICE— How splendid of you. j (together) 

(Michael and Alice are left of Denby, who as they entered came 
down center. Lambart has gone behind desk.) 

TAYLOR — The man's crazy — don't believe him — he's a crook. 
I'm an agent of the United States Customs — I came here to get 
Denby 

DENBY — That's a pretty poor bluff. This is one of the men 
who were in the garden to-night. 

ALICE — I told you they'd break in. 

MICHAEL— Good work, Denby. 

TAYLOR — I tell you I came to arrest him. 

ALICE — Arrest that charming man? Why that's absurd. 

TAYLOR — Absurd, eh? You won't think so when you learn 
who I am. That girl can tell you. 

ALICE — Ethel can tell us? — (They all turn to look at her.) 

ETHEL — (Facing front, after a second) — I never saw the man 
before. 

TAYLOR — You didn't, eh? I guess you'll remember me when 
I serve a warrant for your sister's arrest. I've got it in my pocket 
and papers proving that I'm working for the United States Govern- 
ment. — (He reaches hand toward inside coat pocket to get them. 
Ethel sits on couch.) 

DENBY — (Poking gun under his nose) — No, you don't! — 
(Denby moves his hand toward Taylor's pocket to get them.) 
TAYLOR — (Snarling) — Here, don't you touch 'em! 

DENBY — (Smoothly) — Certainly not — Mr. Harrington will get 
them. — (Michael crosses to Taylor and feels for papers.) 

TAYLOR — (Holding coat open) — In there. — (Harrington takes 
papers from Taylor's pocket, starts to look at them.) 

DENBY — (Grabbing papers from Harrington's hand)— Keep 
out of range, Harrington. — (He backs to door C, hastily glancing at 
papers) — It's alright, Miss Cartwright — it's alright. — (Exits door C.) 

TAYLOR— Grab him, I tell you! He's a crook (ad lib)— (He 
blows whistle). — Don't let him get away. — (He runs off C. Michael, 
Alice and Lambart after him, screaming, down hall. Ethel goes 
up to door C and looks anxiously down hall. Denby having fooled 



UNDER COVER 57 



them and disappeared, runs on from door left, locks it and motions 
Ethel to follow others. Ethel exits center as the voices and 
whistle keep up off stage as 

The CURTAIN Falls. 

{Picture: Denhy, gun in hand, at door C, slightly open, looking 
off. Pandemonium reigns in hallway.) 



e^ 



58 UNDER COVER 



Act 4 



The scene is the same as that of Act. II. The action is supposed 
to begin five minutes before the conclusion of Act III. 

When the curtain rises, Alice, Nora and Michael are discovered 
playing bridge. Michael is fast asleep. Alice is counting on score 
sheet. They sit as follows: Michael at back of table, Alice at right 
of it, Nora down in front of it. 

ALICE — {Looking up) — What on earth is keeping Monty? 

NORA— Oh, I don't know. 

ALICE — He must have an awful headache to stay out in the 
garden all this time. 

NORA — Goodness, he's been gone twenty minutes. — (Rising 
and going to windows.) 

ALICE — And look at Michael, fast asleep 

NORA — It's those highballs he just had upstairs in Mr. Denby's 
room. 

ALICE — I told you they always made him sleepy. Michael! 

NORA — (Coming back to R of Alice) — Before you wake him, 
do tell me what happened in Jane's divorce case 

ALICE — Although the judge was a man — she won it. 

NORA — I wonder why she married him. 

ALICE — My dear, don't go into that. Why anybody ever mar- 
ries anybody is never apparent to anybody else. 

NORA — Marriage is funny. — (Monty's whistle heard off stage.) 

ALICE — If there weren't so many awful things against it, I'd 
be tremendously in favor of trial marriage. 

NORA — Wouldn't it be wonderful — I get so bored going around 
with one man. 

ALICE — That's the difficulty — so does every other woman. 

NORA — Still I do like Monty — but he's such a coward about 
proposing. 

ALICE — Why don't you make him? 

NORA— Oh, I will— yet. 

MONTY — (Entering from garden, nervously stuffing into his 
breast pocket the package containing the necklace that Denby threw 
him from the window in Act Three) — Hello, hope I haven't delayed 
the game too long. 

NORA — We never missed you. 

ALICE — How's your headache? 

MONTY — My headache? What headache? — (Remembering) — 
Oh, it's all gone. Well, shall we play? — (He picks up cards as 
he sits.) 

NORA — Yes — let's — Michael dealt before he went to sleep. 

ALICE — (Tapping Michael) — Michael! you're not at the opera 
— you're playing cards. 

MICHAEL — (After a pause — drowsily) — Who opened it? 

ALICE — We're playing bridge, dear — bridge — bridge (The 

clock strikes three. In Act III, five minutes before the curtain, 
a clock also struck the same hour.) 

NORA — I make it no trumps. 



UNDER COVER 59 



ALICE — It isn't your bid. What do you say, Michael? 

MICHAEL— What'd the dealer draw? 

ALICE — We're not playing poker. 

MICHAEL — Oh, yes, sure, what's trumps? 

ALICE— Oh, stop it! It's your bid. 

MICHAEL — I go one spade. 

MONTY— One— no trump. 

NORA— Two lillies 

ALICE— Pass. 

MICHAEL — Give me three cards. 

ALICE^Michael, if you're so sleepy, you'd better go to bed. . . . 

MICHAEL — I never broke up a poker game in my life. It's 

only the shank of the evening {To Nora) — What's happened, 

partner? 

NORA— I went two Hllies. 

MICHAEL — (Looking at his hand) — Three aces — I'd like to 
open it for two dollars — as it is, I pass. 

MONTY — Two no trump. 

NORA— Pass. 

ALICE— Pass. 

MICHAEL— It's by me. 

MONTY — Your lead, Nora. — (Alice lays down dummy, then 
Nora plays — then Monty plays from dummy.) 

MICHAEL— (Playing)— There 

NORA— What did you play that for? 

MICHAEL — (Withdrawing card) — I do beg your pardon. 
What's trumps? 

ALICE— No trumps!! 

MICHAEL — Well, I haven't got one. — (He plays another card.) 

NORA — Oh, Michael, can't you see the king is in the dummy? 

MICHAEL — Well, why put it there. This game makes me sick. 
Nothing but reproaches 

NORA — I wish Mr. Denby were playing, instead of poor 
Michael. 

MONTY — Steve's got the right idea; he's in bed, asleep. 

MICHAEL — Great man, Denby — he knows you can't sit up all 
night unless you drink. 

ALICE — Oh, let's play one more rubber and stop. Remember, 
Michael, it's not poker. 

MICHAEL — I wish it were — no partners — no reproaches in 
poker — if you make a fool of yourself you lose your own money 
and everybody else is glad of it. 

ALICE — After this one round of jacks then, to please 
Michael? 

MONTY— And then quit. 

MICHAEL— I'm for thdX.— (Yawning)— Bnt don't think it's be- 
cause I'm sleepy. I'm not. I'm thirsty. — (The burglar alarm 
rings. All rise, amazed; look at each other and then upstairs.) — 
Burglars ! 

NORA— Good heavens! 

ALICE— What'll we do? 



60 UNDER COVER 



MONTY — Nonsense — the alarm's probably gone off by acci- 
dent. — (Sound of shot off stage.) 

ALICE — Somebody's killed. — . . . (Crossing to R.) 

NORA — (Crossing to Alice R. C.) — Isn't it awful? — (Monty has 
gone to left of table.) 

MICHAEL — (In front of table) — Go on, Monty, find out what's 
the matter. — (Monty turns away to fender with scared expression. 
Sound of alarm stops.) 

ALICE — (Crossing to Michael) — You go, Michael. Are you 
afraid? 

MICHAEL — Certainly not — but of course the beggar's armed. 

LAMBART — (Entering) — The burglar alarm, sir! The indi- 
cator shows it's Mr. Denby's room. 

MICHAEL — Good old Lambart. Go ahead — we'll follow . . . 

LAMBART — I brought a revolver for you, sir. — (Proffers 
pistol ; Alice and Nora shriek and back away.) 

MICHAEL — Keep it, keep it — you may need it yourself. — (Lam- 
burt starts, followed by Michael; as Michael gets to stairs, Alice 
crosses to him.) 

ALICE — Mikey! — (He stops; she is at his left) — If you're 
going to be killed, I want to be killed, too. — (The three exit 
upstairs.) 

NORA — (Center; blankly) — I don't want to be killed 

MO^TY— (Crossing to L of /i^r)— Neither do I. Great Scott! 
I wish I'd never gone into this. 

NORA — Gone into what? 

MONTY — (Teeth almost chattering) — Nora, I may get shot 
any minute. 

NORA— What?? 

MONTY — This may be my last five minutes on earth. 

NORA — Monty, what have you done? — (Then ecstatically) — 
murder? 

MONTY — If I come out of this alive — will you marry me? 

NORA — Oh, Monty — (She goes into his arms) — why didn't you 
ask me last year? 

MONTY — I didn't need to be protected then, and, anyhow, it 
takes a crisis like this to make me say what I really feel. 

NORA — I love you, anyway. 

MONTY — Gee, if I don't get shot, I'm the happiest man in 
the world. 

NORA — (Backs away from him and taps the package in his 
breast pocket) — What on earth have you got in your pocket? 

MONTY— That's my heart. 

NORA— On that side? 

MONTY— Oh, that? I'd almost forgotten— it belongs to Steve. 
(There is a sound of a police whistle off R.) 

MONTY— The police ! ! 

NORA— Don't let them arrest you!! 

MONTY — Here, quick, hide behind this door. — (They exit R, 
talking ad lib. Duncan and Gibbs enter R U.) 

DUNCAN — (Hastily surveys room and crosses to stairs.) — 
Come on, Harry. He's upstairs. 



UNDER COVER 61 



GIBBS — The chief's got him, sure. — {They exit upstairs, 
Monty and Nora come on R.) 

MONTY — This is awful. Nora, in case of trouble you'd better 
go into the next room. 

NORA — What are you going to do? 

MONTY — I'll just wait for Steve — please go. . . . 

NORA— I'm not afraid. 

MONTY— But I am. 

NORA— What? 

MONTY — For you, for you. I'll come for you as soon as the 
trouble's over. 

NORA — I hate to miss anything. 

MONTY— I'd rather face 'em alone. 

NORA — Well — {She starts to go) — Don't get shot, Monty, dear. 

M01<^TY— {Kissing her)— BelievQ me, I'll try not to 

{She exits. Monty attempts to hide necklace first over R on 
mantel, then under pillow on couch at left. He gives up in disgust 
as he cant find a satisfactory place; sees bottle on table up C, 
Pours drink and is in act of drinking it when voices are heard off 
L U. He puts drink down and exits with annoyance. Duncan^ 
Gibbs, Taylor, Michael, Alice come trooping downstairs, followed 
by Ethel, a silent, nervous figure, she goes down L; Gibbs and 
Duncan go to windows; Taylor at center; Michael and Alice up 
center back of table.) 

TAYLOR— Ford and Hammett are outside? 

DUNCAN— Yes, sir. 

TAYLOR — It's moonlight — Denby can't have gotten away — 
they'd have seen him. 

GIBBS — Maybe he's somewhere in the bushes. 

TAYLOR — Get out and search there — both of you — I'll whistle 
if I need you. — {Gibbs and Duncan exit through French window.) 

MICHAEL — {Coming to Taylor; nervously) — I want to beg 
your pardon, Mr. Taylor — it was a very natural mistake to think 
you were a burglar. 

TAYLOR — I suppose so — lucky for me I had my men here to 
prove my identity. 

MICHAEL — {Nervously) — Surely, surely. 

ALICE — We had no idea Mr. Denby was a smuggler. . . . 

TAYLOR— No, of course, you hadn't. 

MICHAEL — He seemed a mighty nice chap. 

ALICE — But I always did say he might be a murderer. 

MONTY — {Coming in from library, airily) — Hello, did you get 
the burglar? 

ALICE — Why, you see, there wasn't any burglar. 

MICHAEL — It's your friend who caused all the trouble. . . . 

TAYLOR — Don't explain. — {To Monty) — Have you seen 
Steven Denby in the last ten minutes? — {Nora tiptoes in and stands 
by Door R, listening.) 

MONTY— (C00/3;)— No, isn't he in bed? 

TAYLOR — No ! You know he isn't — maybe you're his pal — in 

on the job with him — come here {Monty crosses to him.) 

ALICE — Why, that's too absurd — I've known Monty for years. 



62 UNDER COVER 



MONTY— Who is this man? 

TAYLOR — Never mind who I am. — (Starts to search Monty.) 

NORA — (Rushing to Monty and taking him in her arms.) — 
Don't hurt him! 

MONTY — It's alright, Nora. — (Taylor is searching him; he 
finishes and finds nothing; Monty continues with bravado) — My 
room's three doors down from the landing; if you want to search 
there 

TAYLOR — That'll be enough from you. I guess you're not 
smart enough to be Denby's pal — clear out! — (Nora makes a face 
at Taylor.) 

MICHAEL — Do you want us any longer? 

TAYLOR — No, leave me alone to talk with this girl — (Indicat- 
ing Ethel.) 

ALICE— But 

MICHAEL — Please keep her out of it. I'm quite sure she's 
absolutely innocent in the matter. 

TAYLOR— Are you? Well, I'd like to talk with her alone. 

ETHEL — It's all right. There's just some misunderstanding; 
please go. 

MICHAEL — You really want us to 

ETHEL — Yes — yes (Lambart enters downstrais right, com- 
ing to Michael.) 

MICHAEL — Come, AHce — (As they go) — I really need a drink. 

ALICE — My dear, under These circumstances you may have an 
all-night license. — (Lambart moves toward Michael.) 

LAMBART — Beg pardon. Mr. Harrington, can I speak to you 
privately? 

MICHAEL — (He stops; Alice goes and waits by door R) — 
What is it? — (Lambart whispers to him) — What!! 

TAYLOR— Say, what is all this? 

MICHAEL — A long distance from my partner— mighty im- 
portant — excuse me. Alice — I'll use the upstairs 'phone. — (He hur- 
ries upstairs. Lambert exits.) 

MONTY — Do you want me any longer? 

TAYLOR— I told you to get out. 

MONTY — With pleasure. Come, Nora. — (Nora and Monty go 
with Alice.) 

NORA — Oh, you are perfectly splendid — I had no idea you 
could be so brave. 

MONTY— Neither had I ! 

ALICE — Don't you think we all need some champagne? I do. 

MONTY — Sure. But on a night like this, what's a quart 
among three? — (They all three exit.) 

TAYLOR — (Turning to Ethel vindictively) — What did you 
mean by telling them upstairs you'd never seen me before? 

ETHEL — (Beside the table) — You said under no circumstances 
must I mention your name. 

TKYI.OR— (Center— discomfitted)—Yts, but 

ETHEL — That it was imperative your identity should not be 
disclosed, didn't you? 



UNDER COVER 63 



TAYLOR — I suppose that's true — but when you saw me want- 
ing to prove who I was 

ETHEL— I didn't understand. I was afraid to do anything 
but follow your instructions. 

TAYLOR — Um — how did you find Denby had the necklace? 

ETHEL — I got into his room and caught him — he had it in 
his hand. 

TAYLOR— Yes, yes 

ETHEL— Then he suddenly turned out the lights and in the 
dark he hid it — ^1 couldn't see where. 

TAYLOR — Do you realize what all this means to you — to your 
sister if you're lying? 

ETHEL — Oh, yes — yes — that's why you can believe me. 

DUNCAN — (Coming hurriedly through French window) — 
Say, Chief, Denby's back in his room. — (Ethel gasps.) — (Taylor 
turns a step away from table.) 

TAYLOR— What !— How do you know? 

DUNCAN — Gibbs got up on to the roof of the pagoda — he 
can see into the room from there. 

TAYLOR — (Starting toward windows) — Now we've got him. 

DUNCAN — And Mr. Harrington's with him. 

TAYLOR— What! 

DUNCAN — Yes. Gibbs said they were talking together. 

TAYLOR — I was right then, Denby is smuggling the neck- 
lace for the Harringtons — Harrington didn't go to 'phone — he 
got a message from Denby. Jim, this is a big job — get out there 
to make sure he don't escape by the balcony. 

DUNCAN— Yes, sir— (Starts to go.) 

TAYLOR — Wait a minute — give me your gun? — (Duncan 
hands him gun and exits with a grin) — Now he's done for — sure. 

ETHEL — (Crosses to R of table) — No, no. You mustn't — you 
mustn't 

TAYLOR— (Suddenly)— You knew all the time that he'd got 
back to his room ; you've been trying to fool me — you're stuck 
on him. 

ETHEL — No, no — you're wrong — you're wrong. 

TAYLOR — Am I? I'll give you a chance to prove it. Send for 
Denby, ask him what he did with the necklace — where it is now, 
tell him that I suspect you — that he's got to tell you the truth — 
that you won't turn him over to me — talk to him as if you two 
were alone — but I'll be there behind that screen. — (Pointing to 
screen) — watching and listening. — (He produces gun) — and if you 
tip him off or give him the slightest warning, or signal, I'll arrest 
you both anyhow. Wrong, am I? We'll see — and if you try to 
fool me again — you and your sister will have plenty of time to. 
think it over in Auburn. Now send for him. 

(He goes left and gets screen and places it up in corner above 
door and gets behind it. During foregoing speech Ethel has been 
very frightened, breathing fast, but as she talks her hand nervously 
touches box of cigarettes on table. She sees a way out. She mus- 
ters up all her bravado and courage.) 



64 UNDER COVER 



ETHEL — Of course I'll send for him. — {She goes up stage and 
rings bell and returns to table) — You'll see you've been all wrong 
about me. 

TAYLOR — {Snarling) — I guess not. 

{He adjusts screen a bit so as to see better between the folds.) 

LAMBART— (£nf^rj)— Yes, madam. 

ETHEL — Mr. Denby's in his room — say that I'm here alone 
and must speak to him at once. 

LAMB ART — Yes, madam. — {He exits upstairs and is heard 
knocking at a door.) 

TAYLOR — {Behind screen) — I can see you perfectly — when 
Denby comes in, stand where you are, don't move from there. 
If you do 

LAMB ART — {Coming downstairs) — Mr. Denby is coming now, 
madam. — {Exits R— -After a two seconds' pause Denby enters 
quickly, comes down to her.) 

DENBY — Yes, what's happened. Where is? 

ETHEL — {Quickly interrupting) — Will you have a cigarette, 
Dick? — {She offers cigarette box.) 

DENBY — {Realizing her signal, eyes her keenly) — Thanks, yes, 
Miss Cartwright. 

{He shows to audience he suspects someone is listening, by 
looking around the room sharply. He spots screen, suspects that 
Taylor is there. He does this as he lights cigarette.) 

ETHEL — Now that we're alone and you've beaten me I want 
you to tell me the truth about the necklace. What did you do 
with it? 

DENBY — {Calmly) — Are you still persisting in that strange 
delusion? I never had a necklace. 

ETHEL — But I know you did. 

DENBY — Really this is most extraordinary. We went over all 
that in my room — I thought I'd convinced you. 

ETHEL — That agent of the secret service has been here — he 
suspects that I am defending you for some reason, he won't believe 
what I say. If you'll tell me the truth I'll make him let you go. 

DENBY — Are you quite mad, I haven't any necklace. Really, 
Miss Cartwright, I don't care to prolong this absurd conversation. 
{Lambart enters, crosses to Denby.) 

ETHEL— But what can I do? 

LAMBART — Pardon me. sir. but Mr. Vaughan asked me to 
take this to your room. 

DENBY— What is it? 

LAMBART — Mr. Vaughan didn't say — except that it was very 
important for you to get it at once. 

{Lambart hands Denby a package and exits left.) 

DENBY — Curious, what on earth can Monty be sending me 
at this time of night — it must be important — forgive me if I open it? 

{He does so and lets necklace fall on floor apparently uninten- 
tionally — he gives exclamation — hastily picks it up and puts it bacln 
in his left hand coat pocket. He is in front of lounge at right.) 

ETHEL — {Sinking on stool R of table, sobbing) — Oh, my God — 
we're done for now. 



UNDER COVER 65 



{Taylor knocks down screen and comes down front of table 
with leveled gun.) 

TAYLOR — Hands up, Denby ! — {He blows police whistle.) — I 
don't know how you tipped him off but you two are damned smart 
aren't you? — {Gibbs and Duncan rush on) — But I've got you both — 
you're under arrest. Boys, take her into that room — they can talk 
without speaking — {Duncan comes down and gets her. Gibbs crosses 
to door L, and holds it open) — I'll question 'em separately — I'll call 
you when I want you. — {Duncan, Ethel, and Gibbs exit into library. 
Ethel is sobbing.) 

TAYLOR — Well, this time I've got you. — {He conies over with 
leveled gun) — Where's the necklace? — {Denby starts to drop hand 
to his right hand pocket.) — No you don't! — {He puts hand in 
Denby's right pocket and takes out gun; he smiles at Denby; then 
Denbv lowers hands and produces necklace from left hand pocket.) 

TAYLOR— (^J he looks at it)— It's a pippin all right— $200,000 
for that? How much did you pay the girl to square herself? 

DEXBY — Not a cent, you're all wrong there. 

TAYLOR — Then whv did she tip you off just now? 

DENBY— She didn't' tip me off. 

TAYLOR — Can it — can it; why did she? 

DENBY — Well, I guess she didn't want to see me go to prison. 

TAYLOR— Oh, you pulled the soft stuff eh? Well, she tried 
to double cross me. and that don't pay. Denby. it don't pay. She'll 
find it out all right. 

DENBY — As long as she did the decent thing by me. I'd like 
to see her out of it. You've got me, let her go. 

TAYLOR — No, you'll both have a nice little trip south to 
Atlanta for about five years. 

DENBY — I guess we're up against it. 

TAYLOR — You are, son — right up against it. 

DENBY — Take it out on me — ease up on her — she's a woman. 
After all it isn't as if she were a grafter — why I offered her twenty 
thousand dollars to square it. 

TAYLOR — Tried to bribe a government official eh ? That 
don't make it any better for you. 

DENBY — Well, you can't prove it against me. 

TAYLOR — {Curiously) — Twenty thousand? So you were 
trying to smuggle it for the Harringtons, eh? 

DENBY — Suppose we don't mention any names. 

TAYLOR — They'll come out in court — twenty thousand — it 
meant a lot to you — or somebody — to get this through. 

DENBY — Yes, but I'd rather pay than go to jail.... see? 

TAYLOR — Say, what the hell are you trying to do — bribe me? 

DENBY — What an imagination you have — you couldn't be 
bribed. 

TAYLOR— Not on your life. 

DENBY — {Meaningly) — What a pity I didn't meet a business 
man instead of you. 

TAYLOR — You couldn't square it. even with a business man, 
for $20,000. 

DENBY— (5/o7t'/y)— But I'd give $30,000. 



66 UNDER COEVR 



TAYLOR— You would, eh? 

DENBY — (Slowly) — I would — cash. — (He fishes down behind 
his collar and produces three bills) — Three, $10,000 bills — beauties 
aren't they? 

TAYLOR — {Hypnoti::ed as he looks at them) — I didn't know 
they made 'em so big ! 

DENBY — Taylor, this talk about my having bought a neck- 
lace in Paris, is absurd — I haven't been in Paris in two years. 

TAYLOR— (5/ozf/30— You haven't? 

DENBY — In case of a come back I have witnesses to prove 
an alibi. 

TAYLOR— (Slowly)— You have! 

DENBY — How much does the government pay you? 

TAYLOR — (Looking at money, fascinated) — Three thousand 
a year. 

DENBY — Ten years' salary— And these witnesses of mine — 
they're reliable witnesses — 

TAYLOR— (5/ow/v)— They are? 

DENBY— (£v^ to o'^)— Well? 

TAYLOR— ( Slowly ) —Well ? 

DENBY — Ten years' salary. — (He crackles bills) — (A look of 
understanding between them.) 

TAYLOR — (Removes his hat and his whole manner changes 
to one of great geniality) — Too bad a mistake like this should 
happen. 

DENBY — Just a little inconvenient, sometimes. 

TAYLOR — Sorry to have bothered you, Mr. Denby — but you're 
alright — I figured from the first that you'd be a business man — 
that's why I let you slide through. 

DENBY — You're pretty smart, Mr. Taylor. — (Holding out 
money) — I think these belong to you. 

TAYLOR — (Reaching for money) — Yes, I think they do — 
that's a cute little bank you carry 'em in 

DENBY — (Holding money away) — Wait a minute. How do 
I know you won't take the money and then double cross me? 

TAYLOR — (Eagerly) — I'll give you my word. 

DENBY — That security isn't good enough — those two men of 
yours — are they in on it? 

TAYLOR — (Laughing) — Not on your life. I haven't split 
with anybody for five years. This is a one man job, Mr. Denby. 

DENBY — How can you square them? They saw you pinch me? 

TAYLOR— I'll say it's all a mistake— that I've got to call it off. 

DENBY — You're sure you can get away with it? 

TAYLOR— I always have. 

DENBY — Now see here, this R. J. of the secret service isn't 
onto you, is he? 

TAYLOR— (Quickly)— R. J.? What do you know about him? 

DENBY — Nothing, only we heard in Paris he was busy over 
here, investigating this bribery business in the customs. 

TAYLOR — Well, don't you worry about him — I'm the guy on 
this job. 



UNDER COVER 67 



DEN BY— But I don't want to give up $30,000, lose the neck- 
lace and get pinched as well. 

TAYLOR — {Eagerly) — Say, if you're scared for fear I'll ball 
things up, I don't mind admitting to you who R. J. really is — in 
conjfidence. 

DENBY— Who is he? 

TAYLOR — Well, he isn't a thousand miles from here. 

DENBY— What? 

TAYLOR— Get me? 

DENBY — {Laughing) — That's funny. 

TAYLOR— What's funny about it? 

DENBY — Why, R. J.'s supposed to be after the grafters, isn't 
he, and you're a grafter yourself. 

TAYLOR — Em not a grafter — Fm a business man — I should 
worry about the government. 

DENBY— Well, I guess Ell take the chance. 

TAYLOR— That's the idea. 

DENBY — Provided you'll let me talk with your men. They've 
got to understand Fm innocent — They've got to back you up in 
scjuaring me with the Harringtons. Fm in rather an awkward fix 
here just now. 

TAYLOR — Why sure — talk your head off to 'em. 

DENBY— You'll leave the girl out of it? 

TAYLOR — {Grinning) — Fll do more than that — Fll leave the 
girl to you. 

DENBY — Well, here's your money. 

TAYXOR — Much obliged — and, anyhow, Fve got no evidence 
that you ever had a necklace — {He returns necklace) — Have a 
cigar, Mr. Denby — ■- — 

DENBY — {Taking it) — Thanks; now call 'em in. 

TAYLOR — (Certainly. — {Going to center — then turning) — Glad 
to have met you — next time you're landmg in New York and I can 

be of use — you know {Calling) — Duncan! Gibbs ! — {Gibbs, 

Ethel and Duncan enter in order named) — Say, boys, it's all a 
mistake ! 
• DUNCAN & GIBBS ] f What? 

ETHEL — {Under her breath) } (together) -{ 

TAYLOR J [ Thank God. 

TAYLOR — Our dope was phony — we were in all wrong, but 
he's been very nice about it — very nice indeed. It's just a case 
of mistaken identity — but he's all right — let the lady go, boys. 

{Ethel goes down L to fender, Gibbs crosses to right upper, and 
Duncan to lower left of table.) 

DENBY — {Crossing up C)— Now I don't want any come back 
to all this — I want you all to understand the facts, if you don't 
mind waiting. Miss Cartwright. 
ETHEL— Of course Fll wait. 

TAYLOR — Listen to him boys — you see he's anxious to 
straighten things out. So tell him anything he wants to know. — 
{To Denby) — Fire ahead. — {Taylor behind lounge R.) 

DENBY — {To Duncan) — Well, you got a tip from Harlow 
that a Steven Denby had bought a necklace at Cartiers' 



68 UNDER COVER 



DUNCAN— Yes, sir. 

DEN BY — {To Gibbs) — Then you got a wireless that Denby 
had sailed with a Mrs. Harrington, which threw suspicion on her 
as a possible smuggler. 

GIBBS— That's right, too. 

DEXBY — And yet you fellows let Denby slip through the lines 
at the pier to-day without a search — why was that? 

TAYLOR — (Worried) — We didn't have any absolute evidence 
to arrest him on 

DENBY — But after he got through — you received an anony- 
mous telegram late this afternoon that Denby carried the neck- 
lace in a tobacco pouch, didn't you? 

TAYLOR— How did you know that? 

DENBY— Oh, I found it out to-night. 

TAYLOR — (Coming to him) — What is all this, anyhow? 

DENBY — You don't object to your men answering my ques- 
tions? — (Meaningly) — I was pretty nice to you, Mr. Taylor. 

TAYLOR — (Embarrassed, feeling the money in his trouser 
pocket) — No, that's alright — go ahead. — (He returns behind couch.) 

DENBY— (7o Gibbs)— You knew about that tip in the tele- 
gram? 

GIBBS — No, this is the first we've heard of it. 

DENBY— (To Taylor)— Oh, you didn't tell them? 

TAYLOR — That was my own business. 

DENBY — Did it ever occur to you boys that it was rather 
peculiar that this supposed smuggler wasn't searched — that he got 
through without the slightest trouble? 

GIBBS — Why, the Chief didn't want to get in any mix up 
with the Harringtons, in case he was wrong about Denbv. 

DENBY— Oh, that's what he told you? 

DUNCAN— It sure was. 

DENBY — Don't you boys know the whole job looks very much 
as if the scheme was to let Denby slip through and then black- 
mail him? 

DUNCAN— I never thought of that. 

GIBBS— Me neither. 

TAYLOR — (Nervously) — What's all this got to do with you? 
I admit we made a mistake and we're sorry about it. That's all — 
come on you fellows. 

DENBY — Just a moment — (To Duncan and Gibbs) — Don't you 
realize that it's rather a dangerous thing to monkey with the 
United States government — it's a pretty big thing to fool with. 
You might have got into serious trouble, arresting the wrong man, 
as you have me? 

GIBBS — I haven't been monkeyin' with the government. 

DUNCAN— Neither have I. 

TAYLOR — But it's all settled, now that we know you never 
had a necklace. 

DENBY — That's clearly understood? 

TAYLOR— What I say is right. 

DENBY — But you see, boys, he's wrong. I did smuggle a neck- 
lace through the customs to-day. — (He shozvs it.) 



UNDER COVER 69 



DUNCAN & GIBBS 1 ^, ^ 
TAYLOR 3 ^^^^• 



TAYLOR — (Quickly) — Then you're under arrest. 

DENBY — Oh, no, I'm not. — (To others) — He caught me with 
the goods and I paid him $30,000, to square it. 

TAYLOR — (Comes threateningly to him; with upraised fist) — 
Why— you— I'll 

DEXBY — (Pulling down his hand) — You won't do anything — 
you're only a bully — you couldn't graft on your own — you had 
to drag a girl into it — you made me do some pretty rotten things 
to-night to land you. I've had to make that girl suffer, but now 
you're going to pay for it. I've got you — you're under arrest. 

TAYLOR — Aw, quit your bluffin' — you can't arrest me, Denby. 

DENBY — I'm not Denby — my name is Jones. 

TAYLOR— Well, who the hell is he? 

DENBY — Oh yes — I'd almost forgotten — you and the boys 
don't know who I really am — here's my commission. — (Handing 
Gibbs parchment) — That's my photograph — a fairly good likeness, 
isn't it? 

DUNCAN — (Who has crossed hurriedly to Gibbs L)Yes. 

GIBBS — Sure. Why this thing's made out to Richard Jones. 

DENBY — Well, do you get the initials, boys? 

DUNCAN & GIBBS — (Reading initials without realizing their 
significance) — R. J. 

DENBY — That's me, R. J., of the United States secret service. 

GIBBS — (Shakes hands with Denby) — Are you really R. J. ? 

DENBY — (Smiling) — I am afraid I am. 

TAYLOR— It's a He! 

DENBY — (Pointing to paper) — You can't get away from that 
signature — it's signed by the President of the United States. 

TAYLOR— I tell you it's a fake. 

DENBY — They don't seem to think so. 

DUNCAN — This is on the level alright. — (Gibbs looking at it 
with him, takes it.) 

DENBY — Taylor, for three years the government has been 
trying to land the big blackmailer in the customs — we set a trap 
for him with a necklace as bait. The whole thing was a plant — 
from Harlow's tip to my dropping the necklace just now — and you 
walked into it. 

TAYLOR — (Coming to him threatingly) — Say, you can't get 
away with this. 

DENBY — Wait a minute. You've been in the service long 
enough to know that the rough stuff won't go — you'll only get the 
worst of it — so take it easy. — (To Duncan & Gibbs; taking com- 
mission from Gibbs) — Take him along boys — I was mighty glad 
to find out just now that you fellows weren't in on it — keep the 
necklace for me — exhibit A — they're fakes. — (He comes down to 
R of table.) 

GIBBS — And I've been working for a crook for two years and 
never knew it. — (Gibbs & Duncan cross over near windows.) 



70 UNDER COVER 



TAYLOR — {Goes down to Denby furiously) — Damn you, 
you've got me alright, but I'll send that girl and her sister up the 
river. I'll get even — you're stuck on her and she goes with me. 

DENBY— Oh, I think not. You forget that Mr. Harrington's 
vice-president of the New York Burglar Insurance Company, and 
a very good friend of Miss Cartwright's. I saw him upstairs. 

ETHEL — {Under her breath) — Oh, thank God. 

TAYLOR— Oh, get me out of t\i\s.— {Up C.) 

DENBY— Oh, just a minute— I'll trouble you for that $30,000. 
TAYLOR — {Turning) — You think of everything, don't you? 

DENBY — {To Ethel) — You see I borrowed it from Monty — 
he's been a great help as an amateur partner. — {To Taylor) — He'll 
be glad you're out of the way, Taylor. You quite frightened him. 

TAYLOR — {Going to him) — There's your thirty thousand. 

DENBY — {Goes to him) — There's your cigar. 

TAYLOR — {Sticking cigar in his pocket — then with bravado) 
— Well, it took the biggest man in the secret service to land me, 
Mr. R. J. But I've got some mighty good pals in some mighty 
good places, who'll come across for me. After all — you're not the 
jury and all the smart lawyers aren't dead yet. 

GIBBS — Aw, come on. you dirty grafter. — {The three exit at 
French windows.) 

DENBY — I'm sorry I had to leave you alone as I did, but I 
wanted to arrange matters with Mr. Harrington about your sister, 
so Taylor would have no come back. 

ETHEL — So you are really R. J. 

DENBY — I really am. I did want to tell you before, but I 
couldn't be sure you weren't Taylor's accomplice, until you told 
me about your sister. I had my job to do for the United States — 
I'm only a soldier — I was under orders, but I wish I hadn't had 
to make you suffer. 

ETHEL — And everything's all right now ? 

DEMBY — Except that I'm hungry — are vou hungrv? 

ETHEL— Starved ! 

DENBY — Let's ask for some food. I haven't been so hungry 
since Paris. 

ETHEL — I wish it were Paris ! 

DEMBY — It will be whenever j^ou say. and I'll tell you all 
about R. J. 

ETHEL — How silly of me to think that you were a criminal. 

DENBY — But you see you've caught me. 

ETHEL — Have I really got you, Steve? — {She goes in his 
arms as 



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